The Cleveland Orchestra November 6, 8, 9 & 15 Concerts

FALL SEASON

S E A S O N

SEVERANCE HALL

November 6, 8, 9 WEILERSTEIN PLAYS ELGAR — details begin on page 33 November 15 SAN FRANCISCO SYMPHONY — details begin on page 53

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Proud supporters of The Cleveland Orchestra’s music education programs for children, making possible the rewards and benefits of music in their lives.

AUTO GROUP

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CONTENTS

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6 and 7

7 In the News

Cover photography by Roger Mastroianni

From the Executive Director . . . . . . . . . . . . . . . . . . . 7 Orchestra News . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Copyright © 2014 by The Cleveland Orchestra and the Musical Arts Association

8 About the Orchestra

Eric Sellen, Program Book Editor

e-mail: esellen@clevelandorchestra.com

About the Orchestra . . . . . . . . . . . . . . . . . . . . . . . . . . 8 Musical Arts Association. . . . . . . . . . . . . . . . . . . . . 13 Music Director. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . 22 Guest Information. . . . . . . . . . . . . . . . . . . . . . . . . . . 92

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Week 6

Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Program: November 6, 8, 9 . . . . . . . . . . . . . . . . .

Introducing the Concerts . . . . . . . . . . . . . . . . . . . . . pÄrt Cantus in Memory of Benjamin Britten . . . . . elgar Cello Concerto in E minor . . . . . . . . . . . . . . . . . . adams Harmonielehre. . . . . . . . . . . . . . . . . . . . . . . . . . . .

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Program book advertising is sold through Live Publishing Company at 216-721-1800

51 33 35 39 41 45

Conductor: Giancarlo Guerrero . . . . . . . . . . . . . . 37 Guest Artist: Alisa Weilerstein . . . . . . . . . . . . . . . . 40

Week 7

Program: November 15 . . . . . . . . . . . . . . . . . . . .

Introducing the Concert . . . . . . . . . . . . . . . . . . . . . . liszt Mephisto Waltz No. 1 . . . . . . . . . . . . . . . . . . . . . . mozart Violin Concerto No. 5 (“Turkish”) . . . . . . . . . . . . adams Drift and Providence . . . . . . . . . . . . . . . . . . . . . . ravel Daphnis and Chloé, Suite No. 2. . . . . . . . . . . . .

Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members.

53 55 57

National Endowment for the Arts

The Cleveland Orchestra is grateful to the following organizations for their ongoing generous support of The Cleveland Orchestra: National Endowment for the Arts, the State of Ohio and Ohio Arts Council, and to the residents of Cuyahoga County through Cuyahoga Arts and Culture.

The Cleveland Orchestra is proud of its long-term partnership with Kent State University, made possible in part through generous funding from the State of Ohio.

The Cleveland Orchestra is proud to have its home, Severance Hall, located on the campus of Case Western Reserve University, with whom it has a long history of collaboration and partnership.

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50%

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Conductor: Michael Tilson Thomas . . . . . . . . . . . 67 Guest Artist: Gil Shaham . . . . . . . . . . . . . . . . . . . . . 71

48 Support

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Sound for the Centennial . . . . . . . . . . . . . . . . . . . . .

Corporate Annual Support. . . . . . . . . . . . . . . . . . . .

Foundation / Government Annual Support . . . .

Individual Annual Support . . . . . . . . . . . . . . . . . . .

This program is printed on paper that includes 50% recycled content.

All unused books are recycled as part of the Orchestra’s regular business recycling program.

These books are printed with EcoSmart certified inks, containing twice the vegetable-based material and one-tenth the petroleum oil content of standard inks, and producing 10% of the volatile organic compounds.

48 73 75 76

Table of Contents

The Cleveland Orchestra

Photo credit: Roger Mastroianni

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Š 2014

“There’s an inclusiveness here that I couldn’t get anywhere else.”

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Perspectivesfrom the Executive Director Autumn 2014 Welcome to these first months of 2014-15, our 97th season.

I’m happy to report that since the conclusion of last season at the end of May, many exciting things have happened with The Cleveland Orchestra.

At the beginning of October, we released the wonderful news that Franz Welser-Möst’s ongoing commitment as Music Director of The Cleveland Orchestra has been extended through 2021-22. With this extension, Franz’s tenure will reach at least 20 years, extending four years beyond the Orchestra’s Centennial season in 2017-18. In making the announcement, Board President Dennis W. LaBarre said: “There’s no more successful artistic partnership in the world today thanks to Franz’s extraordinary vision and leadership. I am confident that the future will bring even greater success.”

The extension of Franz’s tenure allows us to accelerate the pace of institutional change, with new audiences, new repertoire, and new types of concert and opera presentations. No less important is the fact that Franz’s long-term commitment to Cleveland is central to fulfilling our expanding education and community engagement mission.

The announcement of Franz’s contract extension came on the heels of an extraordinarily successful three-week European Tour in September. Franz and the Orchestra performed 13 concerts in 7 cities — including 2 live and 2 delayed radio broadcasts, and 2 live television broadcasts that will later be released on DVD. And while Franz and the Orchestra routinely garner rave reviews, on this tour the critical commentary crossed a threshold to where the Orchestra was recognized not only for its legendary precision and clarity, but its elegance, sophistication, brilliance, and flair.

The Orchestra had a very busy summer in Northeast Ohio with a full schedule of performances at Blossom including a number of record-breaking nights for audience numbers and ticket sales. In fact, the 2014 Blossom Music Festival broke all previous records for average attendance per concert, hitting just over 7,000 for the first time ever.

The summer’s key innovation was the introduction of a new series of concerts at Severance Hall on Friday evenings under the banner “Summers@Severance.” Modeled after our Fridays@7 concerts during the regular season, Summers@Severance placed the Orchestra and Severance Hall at the center of University Circle’s lively revitalization as a mixed-use entertainment district, busy and bustling throughout the year.

A final point of the ongoing good news from recent months, on June 30 we closed the books on fiscal 2013/14 and wrapped up a very successful fundraising year, thanks to our many generous donors. We expect to announce very good results when the audited financial statements are completed later this autumn and presented at our Annual Meeting in early December. Many thanks to each and every contributor who helped bring last fiscal year to a successful conclusion.

Gary Hanson Severance Hall 2014-15

7

cleveland o r chest r a a r chives

Photo of the Week follow the Orchestra on Facebook for more archival photos

DRIVING THROUGH SEVERANCE HALL — When Severance Hall opened on February 5, 1931, the building featured a drivethrough for passenger drop-off and pick-up, in operation in the 1930s. Later closed and used as restaurant space, the area became the Smith Lobby, with new restrooms and ticket office space, during the building renovations in 1999-2000.

of its founding in 2018, The Cleveland Orch­estra is undergoing a new transformation and renaissance. Universallyacknow­ledged among the best ensembles on the planet, its musicians, staff, board of directors, volunteers, and hometown are working together on a set of enhanced goals for the 21st century — to develop the youngest audience of any orchestra, to renew its focus on fully serving the communities where it performs through engagement and education, to continue its legendary command of musical excellence, and to move forward into the Orchestra’s next century with a strong commitment to adventuresome programming and new music.

The Cleveland Orchestra divides its time each year across concert seasons at home in Cleveland’s Severance Hall and each summer at Blossom Music Center. Additional portions of the year are devoted to touring and to a series of innovative and intensive performance residencies. These include an annual set of concerts and education programs and partnerships in Florida, a recurring residency at Vienna’s Musikverein, and regular appearances at Switzerland’s Luas i t n e a r s t h e c e n t e nnia l

8

About the Orchestra

The Cleveland Orchestra

S E A S O N

cerne Festival, at New York’s Lincoln Center Festival, and at Indiana University.

Musical Excellence. Under the leadership of Franz Welser-Möst, now in his thirteenth season as the ensemble’s music director, The Cleveland Orchestra is acknowledged among the world’s handful of best orchestras. Its performances of standard repertoire and new works are unrivalled at home in Ohio, in residencies around the globe, on tour across North America and Europe, and through recordings, telecasts, and radio and internet broadcasts. Its longstanding championship of new composers and commissioning of new works helps audiences understand music as a living language that grows and evolves with each new generation. Recent performances with Baroque specialists, recording projects with internationally-renowned soloists, fruitful re-examinations and juxtapositions of the standard repertoire, and acclaimed collaborations in 20th and 21st century masterworks together enable The Cleveland Orchestra the ability to give musical performances second to none in the world.

Serving the Community. Programs for students and community engagement activities have long been part of the Orchestra’s commitment to serving Cleveland and surrounding communities, and have more recently been extended to its touring and residencies. All are designed to connect people to music in the concert hall, in classrooms, and in everyday lives. Recent seasons have seen the launch of a unique “At Home” neighborhood residency program, designed to bring the Orchestra and citizens together in new ways. Additionally, a new Make Music! initiative is taking shape, championed by Franz Welser-Möst in advocacy for the benefits of direct participation in making music for people of all ages.

Future Audiences. Standing on the shoulders of ninety years of presenting

quality music education programs, the Orchestra made national and international headlines through the creation of its Center for Future Audiences in 2010. Established with a significant endowment gift from the Maltz Family Foundation, the Center is designed to provide ongoing funding for the Orchestra’s continuing work to develop interest in classical music among young people. The flagship “Under 18s Free” program has seen unparalleled success in increasing attendance and interest, and was recently extended to the Orchestra’s concerts in Miami.

Innovative Programming. The Cleveland Orchestra was among the first American orchestras heard on a regular series of radio broadcasts, and its Severance Hall home was one of the first concert halls in the world built with recording and broadcasting capabilities. Today, Cleveland Orchestra concerts are presented in a variety of formats for a variety of audiences — including a popular Fridays@7 series (mixing onstage symphonic works with post-concert world music performances), film scores performed live by the Orchestra, collaborations with pop and jazz singers, ballet and opera presentations, and standard repertoire juxtaposed in meaningful contexts with new and older works. Franz Welser-Möst’s creative vision has Severance Hall 2014-15

The Orchestra Today

9

photo by Roger Mastroianni

given the Orchestra an unequaled opportunity to explore music as a universal language of communication and understanding.

Origins and Evolution. The Cleveland Orchestra was founded in 1918 by a group of local citizens intent on creating an ensemble worthy of joining America’s ranks of major symphony orchestras. Over the ensuing decades, the Orch­estra quickly grew from a fine regional organization to being one of the most admired symphony orchestras in the world. Seven music directors have guided and shaped the ensemble’s growth and sound: Nikolai Soko­loff, 1918-33; Artur Rodzinski, 193343; Erich Leins­dorf, 1943-46; George Szell, 1946-70; Lorin Maazel, 1972-82; Christoph von Dohnányi, 1984-2002; and Franz Welser-Möst, since 2002.

The opening in 1931 of Severance Hall as the Orchestra’s permanent home, with later acoustic refinements and remodeling of the hall under Szell’s guidance, brought a special pride to the ensemble and its hometown, as well as providing an enviable and intimate acoustic environment in which to develop and refine the Orchestra’s artistry. Touring performances throughout the United States and, beginning in 1957, to Europe and across the globe have confirmed Cleveland’s place among the world’s top orchestras. Year-round performances became a reality in 1968 with the opening of Blossom Music Center, one of the most beautiful and acoustically admired outdoor concert facilities in the United States.

Today, concert performances, community presentations, touring residencies, broadcasts, and recordings provide access to the Orchestra’s acclaimed artistry to an enthusiastic, generous, and broad constituency around the world.

Franz Welser-Möst leads a concert at John Adams High School. Through such In-School Performances and Education Concerts at Severance Hall, The Cleveland Orchestra has introduced more than 4 million young people to symphonic music over the past nine decades.

10

About the Orchestra

The Cleveland Orchestra

1918

Seven music directors have led the Orchestra, including George Szell, Christoph von Dohnányi, and Franz Welser-Möst.

13th

1l1l 11l1 1l1

The 2014-15 season marks Franz Welser-Möst’s 13th year as music director.

Severance Hall, “America’s most beautiful concert hall,” opened in 1931 as the Orchestra’s permanent home.

100,000+

100,000 young people have attended Cleveland Orch­ estra symphonic concerts since the inauguration of the Center for Future Audiences in 2011, through student programs and Under 18s Free ticketing.

52%

Over half of The Cleveland Orchestra’s funding each year comes from thousands of generous donors and sponsors, who together make possible our concert presentations, community programs, and education initiatives.

4million

Likes on Facebook (as of Sept. 24)

The Cleveland Orchestra has introduced over 4 million children in Northeast Ohio to symphonic music through concerts for children since 1918.

The Cleveland Orchestra performs over

72,538

1931

concerts each year.

The Orchestra was founded in 1918 and performed its first concert on December 11.

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T H E CLEVELAND O R C H E S T R A

BY THE NUMBERS

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T H E M u si c al Ar ts Association

as of September 2014

operating The Cleveland Orchestra, Severance Hall, and Blossom Music Festival

O f f i c er s an d exec ut ive c ommit t ee Dennis W. LaBarre, President Richard J. Bogomolny, Chairman The Honorable John D. Ong, Vice President

Norma Lerner, Honorary Chair Hewitt B. Shaw, Jr., Secretary Beth E. Mooney, Treasurer

Jeanette Grasselli Brown Alexander M. Cutler Matthew V. Crawford David J. Hooker Michael J. Horvitz

Douglas A. Kern Virginia M. Lindseth Alex Machaskee Nancy W. McCann John C. Morley

Larry Pollock Alfred M. Rankin, Jr. Audrey Gilbert Ratner Barbara S. Robinson Raymond T. Sawyer

r e si d en t tr u s t ee s George N. Aronoff Dr. Ronald H. Bell Richard J. Bogomolny Charles P. Bolton Jeanette Grasselli Brown Helen Rankin Butler Scott Chaikin Paul G. Clark Owen M. Colligan Robert D. Conrad Matthew V. Crawford Alexander M. Cutler Hiroyuki Fujita Paul G. Greig Robert K. Gudbranson Iris Harvie Jeffrey A. Healy Stephen H. Hoffman David J. Hooker Michael J. Horvitz Marguerite B. Humphrey David P. Hunt Christopher Hyland James D. Ireland III

Trevor O. Jones Betsy Juliano Jean C. Kalberer Nancy F. Keithley Christopher M. Kelly Douglas A. Kern John D. Koch S. Lee Kohrman Charlotte R. Kramer Dennis W. LaBarre Norma Lerner Virginia M. Lindseth Alex Machaskee Robert P. Madison Milton S. Maltz Nancy W. McCann Thomas F. McKee Beth E. Mooney John C. Morley Donald W. Morrison Meg Fulton Mueller Gary A. Oatey Katherine T. O’Neill The Honorable John D. Ong

Larry Pollock Alfred M. Rankin, Jr. Clara T. Rankin Audrey Gilbert Ratner Charles A. Ratner James S. Reid, Jr. Barbara S. Robinson Paul Rose Steven M. Ross Raymond T. Sawyer Luci Schey Hewitt B. Shaw, Jr. Richard K. Smucker R. Thomas Stanton Daniel P. Walsh Thomas A. Waltermire Geraldine B. Warner Jeffrey M. Weiss Norman E. Wells Paul E. Westlake Jr. David A. Wolfort

Non - r esi d en t truS t ee s Virginia Nord Barbato (NY) Wolfgang C. Berndt (Austria) Laurel Blossom (SC)

Richard C. Gridley (SC) Loren W. Hershey (DC) Herbert Kloiber (Germany)

Ludwig Scharinger (Austria)

tr u s tees ex- o f fic io Faye A. Heston, President, Volunteer Council of The Cleveland Orchestra Shirley B. Dawson, President, Women’s Committee of The Cleveland Orchestra Claire Frattare, President, Blossom Women’s Committee

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Beverly J. Warren, President, Kent State University Barbara R. Snyder, President, Case Western Reserve University

tr u S tee s em e r it i Clifford J. Isroff Samuel H. Miller David L. Simon

h ono rary t rus t ees for life Robert W. Gillespie Gay Cull Addicott Dorothy Humel Hovorka Oliver F. Emerson Robert F. Meyerson Allen H. Ford

pas t p r e si d en t s D. Z. Norton 1915-21 John L. Severance 1921-36 Dudley S. Blossom 1936-38 Thomas L. Sidlo 1939-53

Percy W. Brown 1953-55 Frank E. Taplin, Jr. 1955-57 Frank E. Joseph 1957-68 Alfred M. Rankin 1968-83

Ward Smith 1983-95 Richard J. Bogomolny 1995-2002, 2008-09 James D. Ireland III 2002-08

T H E CLEVELAND O R C H E S T R A Franz Welser-Möst, Music Director

Severance Hall 2014-15

Gary Hanson, Executive Director

Musical Arts Association

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PHOTO: ROGER MASTROIANNI

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The Cleveland Orchestra

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S E A S O N

Franz Welser-Möst Music Director Kelvin Smith Family Endowed Chair The Cleveland Orchestra

marks Franz Welser-Möst’s thirteenth year as music director of The Cleveland Orchestra, with the future of this acclaimed partnership now extending into the next decade. Under his direction, the Orchestra is hailed for its continuing artistic excellence, is broadening and enhancing its community programming at home in Northeast Ohio, is presented in a series of ongoing residencies in the United States and Europe, and has re-established itself as an important operatic ensemble.

With a commitment to music education and

the Northeast Ohio community, Franz Welser-Möst has taken The Cleveland Orchestra back into public schools with performances in collaboration with the Cleveland Metropolitan School District. He has championed new programs, such as a community-focused Make Music! initiative and a series of “At Home” neighborhood residencies designed to bring the Orchestra and citizens together in new ways.

Under Mr. Welser-Möst’s leadership, The Cleveland Orchestra has established a recurring biennial residency in Vienna at the famed Musikverein concert hall and appears regularly at Switzerland’s Lucerne Festival. Together, they have also appeared in residence at Suntory Hall in Tokyo, Japan, and at the Salzburg Festival, where a 2008 residency included five sold-out performances of a staged production of Dvořák’s opera Rusalka. In the United States, an annual multi-week Cleveland Orch­estra residency in Florida was inaugurated in 2007 and an ongoing relationship with New York’s Lincoln Center Festival began in 2011.

To the start of this season, The Cleveland Orchestra has performed fourteen world and fifteen United States premieres under Franz Welser-Möst’s direction. In partnership with the Lucerne Festival, he and the Orchestra have premiered works

by Harrison Birtwistle, Chen Yi, Hanspeter Kyburz, George Benjamin, Toshio Hosokawa, and Matthias Pintscher. In addition, the Daniel R. Lewis Young Composer Fellow program has brought new voices to the repertoire, including Pintscher, Marc-André Dalbavie, Susan Botti, Julian Anderson, Johannes Maria Staud, Jörg Widmann, Sean Shepherd, and Ryan Wigglesworth.

Franz Welser-Möst has led annual opera performances during his tenure in Cleveland, re-establishing the Orchestra as an important operatic ensemble. Following six seasons of opera-in-concert presentations, he brought fully staged opera back to Severance Hall with a three-season cycle of Zurich Opera productions of the Mozart-Da Ponte operas. He led concert performances of Strauss’s Salome at Severance Hall and at Carnegie Hall in May 2012 and in May 2014 led an innovative madeP H OTO BY S ATO S H I AOYAG I

t h e 2 0 1 4 - 1 5 s e ason

Severance Hall 2014-15

Music Director

17

for-Cleveland production of Leoš Janáček’s The Cunning Little Vixen at Severance Hall. They present performances of Richard Strauss’s Daphne in May 2015.

As a guest conductor, Mr. Welser-Möst enjoys a close and productive relationship with the Vienna Philharmonic. Recent performances with the Philharmonic include a critically-acclaimed production of Strauss’s Der Rosenkavalier at the 2014 Salzburg Festival as well as appearances at New York’s Carnegie Hall, at the Lucerne Festival, and in concert at La Scala Milan. During the 2014-15 season, he returns to Europe for a tour of Scandinavia with the Philharmonic, and will also lead them in a new production of Beethoven’s Fidelio at Salzburg in 2015. He led the Philharmonic’s celebrated annual New Year’s Day concert in 2011 and 2013, viewed by tens of millions as telecast in seventy countries worldwide.

From 2010 to 2014, Franz Welser-Möst served as general music director of the Vienna State Opera. His partnership with the company included an acclaimed new production of Wagner’s Ring cycle with stage director Sven-Eric Bechtolf, and critically-praised new productions of Hindemith’s Cardillac, Janáček’s Katya Kabanova and From the House of the Dead, Puccini’s The Girl of the Golden West, and Verdi’s Don Carlo, as well as performances of a wide range of other operas, particularly of works by Wagner and Richard Strauss, including Tristan and Isolde and Parsifal, and Der Rosenkavalier and Ariadne auf Naxos. Prior to his years with the Vienna State Opera, Mr. Welser-Möst led the Zurich Opera across a decade-long tenure, leading more than forty new productions and culminating in three seasons as general music director (2005-08).

Franz Welser-Möst’s recordings and videos have won major awards, including a Gramophone Award, Diapason d’Or, Japanese Record Academy Award, and two Grammy nominations. With The Cleveland Orchestra, he has created DVD recordings of live performances of five of Bruckner’s symphonies, and is in the midst of a new project recording major works by Brahms. With Cleveland, he has also released a recording of Beethoven’s Ninth Symphony and an all-Wagner album. DVD releases on the EMI label have included Mr. Welser-Möst leading Zurich Opera productions of The Marriage of Figaro, Così fan tutte, Don Giovanni, Der Rosenkavalier, Fierrabras, and Peter Grimes.

For his talents and dedication, Mr. Welser-Möst has received honors that include the Vienna Philharmonic’s “Ring of Honor” for his longstanding personal and artistic relationship with the ensemble, as well as recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, appointment as an Academician of the European Academy of Yuste, a Gold Medal from the Upper Austrian government for his work as a cultural ambassador, a Decoration of Honor from the Republic of Austria for his artistic achievements, and the Kilenyi Medal from the Bruckner Society of America. He is the co-author of Cadences: Observations and Conversations, published in a German edition in 2007.

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Music Director

The Cleveland Orchestra

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Severance Hall, a Cleveland landmark and home of the world-renowned Cleveland Orchestra, is perfect for business meetings and conferences, pre-concert or post-concert dinners, and receptions, weddings, and social events.

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T he

C l e v e l a n d

F r an z W else r - M Ăś st MUsic

D i re c t o R Kelvin Smith Family Chair

FIRST VIOLINS William Preucil concertmaster

Blossom-Lee Chair

Yoko Moore

assistant concertmaster

Clara G. and George P. Bickford Chair

Peter Otto

First associate concertmaster

Jung-Min Amy Lee

Associate concertmaster

Gretchen D. and Ward Smith Chair

Alexandra Preucil

assistant concertmaster

Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair

Takako Masame

Paul and Lucille Jones Chair

Wei-Fang Gu

Drs. Paul M. and Renate H. Duchesneau Chair

Kim Gomez

Elizabeth and Leslie Kondorossy Chair

Chul-In Park

Harriet T. and David L. Simon Chair

Miho Hashizume

Theodore Rautenberg Chair

Jeanne Preucil Rose

Dr. Larry J.B. and Barbara S. Robinson Chair

Alicia Koelz

Oswald and Phyllis Lerner Gilroy Chair

Yu Yuan

Patty and John Collinson Chair

Isabel Trautwein

Trevor and Jennie Jones Chair

Mark Dumm

Gladys B. Goetz Chair

Katherine Bormann

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SECOND VIOLINS Stephen Rose *

Alfred M. and Clara T. Rankin Chair

cellos Mark Kosower*

Louis D. Beaumont Chair

Richard Weiss 1

The GAR Foundation Chair

Emilio Llinas 2

Charles Bernard 2

Eli Matthews 1

Bryan Dumm

James and Donna Reid Chair Patricia M. Kozerefski and Richard J. Bogomolny Chair

Elayna Duitman Ioana Missits Carolyn Gadiel Warner Stephen Warner Sae Shiragami Vladimir Deninzon Sonja Braaten Molloy Scott Weber Kathleen Collins Beth Woodside Emma Shook Jeffrey Zehngut Yun-Ting Lee

Helen Weil Ross Chair Muriel and Noah Butkin Chair

Tanya Ell

Thomas J. and Judith Fay Gruber Chair

Ralph Curry Brian Thornton David Alan Harrell Paul Kushious Martha Baldwin BASSES Maximilian Dimoff *

Clarence T. Reinberger Chair

Kevin Switalski 2 Scott Haigh 1

Mary E. and F. Joseph Callahan Chair

VIOLAS Robert Vernon *

Mark Atherton Thomas Sperl Henry Peyrebrune

Lynne Ramsey 1

Charles Carleton Scott Dixon Derek Zadinsky

ChaillĂŠ H. and Richard B. Tullis Chair Charles M. and Janet G. Kimball Chair

Stanley Konopka 2 Mark Jackobs

Jean Wall Bennett Chair

Arthur Klima Richard Waugh Lisa Boyko Lembi Veskimets Eliesha Nelson Joanna Patterson Zakany Patrick Connolly

The Orchestra

Charles Barr Memorial Chair

HARP Trina Struble *

Alice Chalifoux Chair

The Cleveland Orchestra

SEASON

Or c he s tra FLUTES Joshua Smith *

Elizabeth M. and William C. Treuhaft Chair

Saeran St. Christopher Marisela Sager 2

Austin B. and Ellen W. Chinn Chair

Mary Kay Fink PICCOLO Mary Kay Fink

Anne M. and M. Roger Clapp Chair

OBOES Frank Rosenwein * Edith S. Taplin Chair

Jeffrey Rathbun 2

Everett D. and Eugenia S. McCurdy Chair

Robert Walters english horn Robert Walters

Samuel C. and Bernette K. Jaffe Chair

horns Richard King *

percussion Marc Damoulakis*

Michael Mayhew §

Donald Miller Tom Freer

George Szell Memorial Chair Knight Foundation Chair

Jesse McCormick

Robert B. Benyo Chair

Hans Clebsch Alan DeMattia

Jack Sutte Lyle Steelman2

librarians Robert O’Brien

James P. and Dolores D. Storer Chair

Michael Miller CORNETs Michael Sachs *

Mary Elizabeth and G. Robert Klein Chair

Michael Miller

Richard Stout

Linnea Nereim

Shachar Israel 2

E-flat clarinet Daniel McKelway

bass trombone Thomas Klaber

bass clarINEt Linnea Nereim bassoons John Clouser *

Louise Harkness Ingalls Chair

Barrick Stees 2

Sandra L. Haslinger Chair

Jonathan Sherwin contrabassoon Jonathan Sherwin

Marjory and Marc L. Swartzbaugh Chair

Robert and Eunice Podis Weiskopf Chair

Robert Woolfrey Daniel McKelway 2

Stanley L. and Eloise M. Morgan Chair

Rudolf Serkin Chair

Carolyn Gadiel Warner

TROMBONES Massimo La Rosa*

Robert R. and Vilma L. Kohn Chair

keyboard instruments Joela Jones *

TRUMPETS Michael Sachs *

clarinets Franklin Cohen *

Robert Marcellus Chair

Margaret Allen Ireland Chair

Gilbert W. and Louise I. Humphrey Chair Alexander and Marianna C. McAfee Chair

euphonium and bass trumpet Richard Stout tuba Yasuhito Sugiyama* Nathalie C. Spence and Nathalie S. Boswell Chair

Joe and Marlene Toot Chair

Donald Miller orchestra Personnel Karyn Garvin director

Christine Honolke Manager

Endowed chairs currently unoccupied Sidney and Doris Dworkin Chair Sunshine Chair

* Principal ° Acting Principal § Associate Principal 1 2

First Assistant Principal Assistant Principal

conductors Christoph von Dohnányi music director laureate

Giancarlo Guerrero

principal guest conductor, cleveland orchestra miami

Brett Mitchell timpani Paul Yancich *

assistant conductor

Tom Freer 2

Robert Porco

Otto G. and Corinne T. Voss Chair

Elizabeth Ring and William Gwinn Mather Chair

director of choruses

Frances P. and Chester C. Bolton Chair

Severance Hall 2014-15

The Orchestra

23

WHERE’S

YOUR AD? It could be: here, here, here, here, here, here, here, here, here, & here.

photo: Roger Mastroianni

The Cleveland Orchestra is one of the most acclaimed performing ensembles in the world — an extraordinary engine of promotion and a tremendous source of great civic pride. Every year The Cleveland Orchestra draws Northeast Ohio’s most influential professionals to Severance Hall to hear the best music-making that the world has to offer…pure and simple.

We invite you to be a part of this amazing experience by advertising in the Severance Hall printed programs. It’s a smart way to put yourself in front of 150,000+ of northeast Ohio’s most influential consumers and business decision-makers.

Advertise in The Cleveland Orchestra Severance Hall program books Call 216-721-4300 or email jmoore@livepub.com www.livepub.com

OrchestraNews

Executive Director Gary Hanson to retire in 2015 Retiring in October 2015 after nearly three decades in multiple executive roles for Orchestra

Cleveland Orchestra News

25

THE CLEVELAND ORCH

Severance Hall 2014-15

look forward to his continuing contributions to our progress over the coming year.”

Gary Hanson joined the Orchestra’s staff in 1988 as director of marketing and public relations, a post he held until 1997 when he was appointed associate executive director. In that role, Hanson led the renovations of Severance Hall and Blossom Music Center. He began his tenure as executive director in early 2004, as the eighth individual to serve as the Orchestra’s senior executive since the ensemble’s founding.

Under his executive leadership, The Cleveland Orchestra has earned a reputation for innovation based on new initiatives and programs, including its annual residency in Miami, the addition of staged opera and ballet to the season in Cleveland, and the development of the nation’s youngest audience for a symphony orchestra. In partnership with Franz Welser-Möst, Hanson has led the expansion of the Orchestra’s international presence and the redoubling of its commitment to education and community engagement at home.

Hanson plans to retire in Cleveland where he will devote time as a volunteer with civic organizations in addition to consulting in the music industry.

THE CLEVELAND ORCHESTRA

Gary Hanson, executive director of The Cleveland Orchestra, has announced his plans to retire in October, 2015. At the time of his retirement, Hanson will have served the institution for almost 28 years, with more than 11 years in his current position.

In making the announcement, Gary Hanson said, “Leading our extraordinary staff in the service of this great Orchestra is a true privilege.

I’m proud of our accomplishments together in a time of immense change and challenge for orchestras. At the same time, I look forward to turning over the reins late next year to the next executive leader who can pursue ever-greater institutional achievements.”

Hanson continued: “It is an honor for me to share in the stewardship of this remarkable Orchestra, which means so much to me, especially the opportunity to work side-by-side with Franz Welser-Möst, whose artistic and institutional impact is without peer in the world today. Likewise, I have been fortunate to serve the dedicated and generous Board of the Musical Arts Association under three visionary Presidents, James D. Ireland III, Richard J. Bogomolny, and for the past five years, Dennis W. LaBarre.”

Commenting on Hanson’s forthcoming retirement, music director Franz Welser-Möst said: “I have enjoyed a great partnership and warm relationship with Gary for more than a decade. For me, the highlights of his many achievements are the innovations which he has pursued with incredible energy, wisdom, and intelligence. I look forward to our final year working together as we seek to evolve this great and storied institution to be ready for the future.”

Board President Dennis LaBarre, noted that “Gary Hanson’s plan to retire at the end of his current contract follows our ongoing consideration of well-planned and orderly leadership transitions. I am very grateful that Gary is providing ample time for the Board to identify the next Executive Director and ensure a seamless succession. I also appreciate Gary’s ongoing tireless efforts on behalf of The Cleveland Orchestra and

THE CLEVELAND ORCHESTRA THE CLEVELAND ORCHESTRA TRA THE CLEVELAND ORCHESTRA

News

LORIN MAAZEL

News

Release of boxed set by Decca pays tribute to the Maazel-Cleveland partnership in the recording studio

The Cleveland Orchestra and Decca/Universal Music Classics have announced the release of a commemorative CD set titled Lorin Maazel: The Cleveland Years, Complete Recordings. Maazel, who was music director of The Cleveland Orchestra 1972-1982, died earlier this year at the age of 84. During his years in Cleveland, a series of recording were made for Decca, all of which are collected together in this boxed-album set for the first time.

The repertory includes a number of orchestral spectaculars, including Decca’s first recording in Cleveland, Prokofiev’s Romeo and Juliet. “The precision of The Cleveland Orchestra is little short of miraculous. . . . The recording is one of Decca’s most spectacular, searingly detailed but atmospheric too,” says The Penguin Guide.

Another highlight of the Maazel/Cleveland Decca discography is the 1975 recording of Gershwin’s Porgy and Bess. Starring Willard White and Leona Mitchell, this was the first complete stereo recording of the work.

In conjunction with release of this set, Cleveland Classical radio station WCLV (104.9 FM) will feature archival broadcasts from the Maazel era, in addition to playing selections from the newly released boxed set. The WCLV daily Choice CDs of the day for the month of November will be from the complete set of Maazel re-issues. Selected recordings will be played each weekday several times a day. The complete program listing can be found on the WCLV website at www. wclv.org.

During the second half of his tenure, Maazel continued recording with the Orchestra for Cleveland-based Telarc Records, adding even more to the Orchestra’s storied recording history.

Decca’s Lorin Maazel: The Cleveland Years boxed set is available at the Cleveland Orchestra Store at Severance Hall and via online 1 retailers.

26

Lorin Maazel

The Cleveland Orchestra

News

2

3

4

5 1. Accepting applause with The Cleveland Orchestra in Syndney, Australia, 1973. 2. Conducting at Blossom. 3. Informal portrait outside Severance Hall. 4. In rehearsal on tour. 5. Recording at Masonic Auditorium. 6. Post-concert in the Severance Hall Board Room with composer Michael Tippet and Prince Charles.

6

Severance Hall 2014-15

Lorin Maazel

27

THE CLEVELAND OR-

OrchestraNews New album released

by Orchestra trumpeter

Cleveland Orchestra musician Jack Sutte (trumpet) has released a new album this month, titled Fanfare Alone. The album is a collection of fanfares and solo pieces for unaccompanied trumpet, with more than half of the compositions written for Sutte specifically for the the album. The unique two-CD release of 300 copies was recorded ded and engineered by Robert Friedrich of Clevelandbased 5/4 Productions. Fanfare Alone is available at the Cleveland Orchestra Store at Severance Hall, or online via CDBaby.com, iTunes, and Amazon.com in both physical and digital options.

THE CLEVELAND ORCHESTRA CLEVELAND O30RCHESTRA THE CLEVELAND ORCHESTRA ESTRA THE CLEVELAND ORCHE

News

Comings and goings

As a courtesy to the performers onstage and the entire audience, late-arriving patrons cannot be seated until the first break in the musical program.

A.R.O.U.N.D T.O.W.N Recitals and presentations

Upcoming local performances by members of The Cleveland Orchestra include: A group of Cleveland Orchestra musicians are performing works of chamber music on November 19 as part of an annual special “Instrumental Evening forr Earth Day” fundraiser. Daniel McKelway way (clarinet), Lembi Veskimets (viola), Jeffrey Zehngut (violin), Martha Baldwin (cello), and Sonja Braaten Molloy (violin) n) will perform works by Glazunov and von Weber during the evening, which h features a reception with food from thirteen local restaurants, raffles, and a live auction, as well as art gallery viewings. The event takes place at smARTspace at 78th Street Studios in Cleveland, and raises money for Earth Day Coalition, a community group working to provide education, inspire leadership, and encourage action for a healthy environment. Single tickets are $100, or $50 for students. For more information, or to purchase tickets, call 216-281-6468.

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HELP LOCAL HUNGER HungerNetwork.org

28

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Cleveland Orchestra News

The Cleveland Orchestra

T H E CLEVELAND O R C H E S T R A T H E CLEVELAND O R C H E S T R A T R A T H E CLEVELAND O R C H E S T R A

News

OrchestraNews

Post-Concert Dining options come to Severance Hall with the start of the 2014-15 Season. Enjoy our full-service bar, desserts and coffee, or our special à la carte dining choices.

Following most Cleveland Orchestra concerts, the Restaurant will be open for a relaxing time with friends. Stop by and extend your evening out.

For KeyBank Fridays@7 performances, live music will be featured in the hour following the concert. Mix and mingle, drop in and start again — between the Restaurant and all of Fridays@7’s post-concert musical offerings!

No reservations are required. Stop by after Thursday, Friday, and Saturday evening concerts, or after Friday morning matinees. Severance Restau­­rant is operated by Cleveland’s own Marigold Catering.

w!

Ne

Pre-Order Intermission Drinks!

Also new this season — you can pre-order your beverage choices for intermission!

Simply visit one of the bars before the concert to place and pay for your order.

For pre-concert dining, reservations are suggested. Book online by visiting the link to OpenTable at clevelandorchestra.com.

BW Celebrates Dynamic New Directors Octavio Más-Arocas

Director of Orchestral Studies (pictured)

Brendan Caldwell

Director of Wind Ensembles Friday, December 5 at 7:00 p.m.

BW SYMPHONIC WIND ENSEMBLE Kulas Musical Arts Building 96 Front St., Berea, Ohio www.bw.edu/conservatory

Bernstein: Profanation from “Jeremiah, Symphony No. 1” Dvořák: Serenade in D minor, Op. 44

BW SYMPHONY ORCHESTRA

Baldwin Wallace University does not discriminate on the basis of race, creed, age, disability, national origin, gender or sexual orientation in the administration of any policies or programs.

Severance Hall 2014-15

Cleveland Orchestra News

Bates: Mothership J. Brahms: Symphony No. 4

29

T H E CLEVELAND O R C H E S T R A T H E CLEVELAND O R C H

Conservatory of MusiC

THE CLEVELAND OR-

OrchestraNews M.U.S.I.C.I.A.N S.A.L.U.T.E The Musical Arts Association gratefully acknowledges the artistry and dedication of all the musicians of The Cleveland Orchestra. In addition to rehearsals and concerts throughout the year, many musicians donate performance time in support of community engagement, fundraising, education, and audience development activities.

We are pleased to recognize these musicians, listed below, who have volunteered for such events and presentations during the 2013-14 and 2014-15 seasons.

THE CLEVELAND ORCHESTRA CLEVELAND O30RCHESTRA THE CLEVELAND ORCHESTRA ESTRA THE CLEVELAND ORCHE

News

Mark Atherton Martha Baldwin Charles Bernard Katherine Bormann Lisa Boyko Charles Carleton John Clouser Hans Clebsch Kathleen Collins Patrick Connolly Ralph Curry Alan DeMattia Scott Dixon Elayna Duitman Bryan Dumm Tanya Ell David Alan Harrell Miho Hashizume Shachar Israel Joela Jones Richard King Alicia Koelz Stanley Konopka Paul Kushious Massimo La Rosa Jung-Min Amy Lee Takako Masame Eli Matthews Jesse McCormick

30

Daniel McKelway Sonja Braaten Molloy Chul-In Park Joanna Patterson Zakany Alexandra Preucil William Preucil Lynne Ramsey Jeanne Preucil Rose Stephen Rose Frank Rosenwein Marisela Sager Sae Shiragami Emma Shook Joshua Smith Saeran St. Christopher Barrick Stees Richard Stout Jack Sutte Kevin Switalski Brian Thornton Lembi Veskimets Carolyn Gadiel Warner Stephen Warner Richard Weiss Beth Woodside Robert Woolfrey Paul Yancich Derek Zadinsky

Two Endowed Chairs named to honor generous legacy gifts created by Orchestra patrons Two new chairs of The Cleveland Orchestra have been named in recognition of generous planned estate gifts created by longtime Orchestra patrons. The Robert B. Benyo Endowed Horn Chair has been added to the roster and is currently held by section horn player Jesse McCormick, while the Thomas J. and Judith Fay Gruber Endowed Cello Chair is held by cellist Tanya Ell. The chairs are named in perpetuity, and will help support the Orchestra’s annual costs, including musician salaries.

As a prominent Northeast Ohio physician, Dr. Robert Benyo appreciated The Cleveland Orchestra’s precision and clarity of sound. Having subscribed and supported The Cleveland Orchestra for over thirty years, Dr. Benyo remembered the Orchestra in his estate to support and help perpetuate the ensemble’s highest standards of performing excellence.

Judith and Tom Gruber have long enjoyed experiencing the Orchestra at Severance Hall. Judith, a member of the Blossom Women’s Committee, supports the efforts of the Orchestra through her tireless volunteerism. In creating plans for their legacy gift, Judith and Tom also desired to support and promote the continuing superior artistry of the Orchestra’s musicians and ensemble playing.

Both of these gifts join together with hundreds of other endowment gifts to support The Cleveland Orchestra in perpetuity. Thousands of generous individuals have made a commitment to the Orchestra through outright endowment gifts or legacy plans, through the annual fund and special project support. To learn more about including the Orchestra in your estate plans, please contact Bridget Mundy at 216-231-8006.

Cleveland Orchestra News

The Cleveland Orchestra

There’s a new Hospice House on the eastside

Maltz Hospice House and Palliative Care Pavilion

• On Montefiore’s Beachwood campus • Beautiful living and dining areas • Dedicated entrance and parking

north point portfolio managers c o r p o r a t i o n Ronald J. Lang Diane M. Stack Daniel J. Dreiling

440.720.1102 440.720.1105 440.720.1104

Call Diane Korman, our hospice director, for a visit at 216.910.2650 Hospice care also available in your home One David N. Myers Parkway, off Cedar Road

montefiorecare.org

Montefiore A Caring Community

PRE CONCERT PRIX FIXE $33

inside case western’s new university center located at east blvd. and bellflower rd. with convenient access from severance hall parking garage

216.368.0801 michelsonandmorley.cafebonappetit.com

Severance Hall 2014-15

31

Proud masters of our instruments, whether striking a chord or striking an arc.

Lincoln Electric is a proud supporter of the ClevelandOrchestra.

Orchestra.

TtheCleveland www.lincolnelectric.com

In the spirit of this season of thanksgiving, we extend our deepest gratitude to the entire Cleveland Orchestra family — the brilliant musicians, generous donors, dedicated concertgoers, visionary board, enthusiastic volunteers, tireless staff, and incredible, supportive community.

Thank you for everything you do for The Cleveland Orchestra.

32

The Cleveland Orchestra

T he C l e v e l a n d O r chest r a f r an z

welse r - m Ö st mu s i c

d i re c t o r

Severance Hall

Thursday evening, November 6, 2014, at 7:30 p.m.

Saturday evening, November 8, 2014, at 8:00 p.m.

Sunday afternoon, November 9, 2014, at 3:00 p.m.

Giancarlo Guerrero, conductor arvo pärt (b. 1935)

SEASON

Cantus in Memory of Benjamin Britten

edward elgar (1857-1934)

Cello Concerto in E minor, Opus 85

1. Adagio — Moderato —

2. Lento — Allegro molto 3. Adagio — 4. Allegro — Moderato — Allegro, ma non troppo — Poco più lento — Adagio Alisa Weilerstein, cello

I N T E R M I S S I O N

john adams (b. 1947)

Harmonielehre

Part I. Part II. The Anfortas Wound Part III. Meister Eckhart and Quackie

Thursday’s concert is sponsored

by The Lincoln Electric Foundation, a Cleveland Orchestra Partner in Excellence.

Alisa Weilerstein’s appearance with The Cleveland Orchestra is made possible by a contribution to the Orchestra’s Guest Artist Fund from The Payne Fund.

The concert will end on Thursday evening at about 9:15 p.m. and on Saturday at approximately 10:15 p.m. and Sunday at 4:45 p.m. live radio broadcast

Saturday evening’s concert is being broadcast live on WCLV (104.9 FM).

The concert will be rebroadcast as part of regular weekly programming on WCLV on Sunday afternoon, December 21, at 4:00 p.m.

Severance Hall 2014-15

Concert Program — Week 6

33

The Cleveland Orchestra guide to

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Sunday Nov. 16, 1:00-2:30 Early Childhood Open House: 2015-16 Preschool, Day School, & Kindergarten-In-Process info

RSVP: kgrau@TheMusicSettlement.org or 216-421-5806 xt. 161

Let Linn of Scotland bring concert hall quality music to your living or office space. (',7$%/( $5($ 21/<

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34

Exacting craftsmanship and meticulous attention to every detail, every job.

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The Worldâ&#x20AC;&#x2122;s Finest Chamber Music Juilliard Quartet (in collaboration with the CIM Chamber Music Festival)

2 December 2014 Chamber Music Society of Lincoln Center 13 January 2015 Plymouth Church, UCC, 2860 Coventry Rd., Shaker Heights, OH 44120

THE CLEVELAND CHAMBER MUSIC SOCIETY www.ClevelandChamberMusic.org â&#x20AC;˘ 216.291.2777

The Cleveland Orchestra

INTRODUCING THE CONCERTS

Memory, Melody& Harmony

T H I S W E E K ’ S C O N C E R T S offer three compellingly different views of how classical music changed, evolved, and flourished across the 20th century. Each in a form or format from earlier centuries, and created by composers from Estonia (1977), England (1919), and the United States (1985).

The concert opens with a deeply felt memoriam written by one composer at the death of another he greatly admired. Arvo Pärt’s Cantus in Memory of Benjamin Britten literally intones the ideas and ideals of contemplative mourning, drawn up as Pärt considered the death in 1976 of a man he never met, but whose works had greatly inspired his own journey as a composer.

Elgar’s great Cello Concerto — from over a half century earlier — is next, filled with the emotional weight of this composer’s musical worldview, filtered (or perhaps unfi ltered) directly into a fourmovement concerto of immense proportions, physicality, and intensity. Here guest cellist Alisa Weilerstein has a large canvas for her extraordinary artistry in partnerJohn Adams, ship with The Cleveland Orchestra.

Edward Elgar, and Arvo Pärt The concert ends with guest conductor Giancarlo Guerrero leading a seminally major work by John Adams. Created in 1985, this three-movement symphonic work, built in great pillars of shifting sounds, is something of a manifesto for everything Adams’s music was destined to be — far more than Minimalist, as his melodic gifts flutter in early form, and the music marches forth in triumphant new sounds along classical music’s forward path.

—Eric Sellen

Severance Hall 2014-15

Introduction

35

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1301

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the

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216-229-5770 Call for upcoming events

Mon.-Fri. 11 a.m. to 6 p.m. · Sat. 11 a.m. to 5 p.m. · Sun. 1 to 5 p.m.

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Located one block north of Historic Shaker Square, Larchmere Boulevard is Cleveland’s premier arts and antiques district, featuring over 40 eclectic and independent shops & services. www.Larchmere.com

The music continues after the concert on 89.7 FM Now with more news and information programming during the day and more of your classical music favorites in the evening.

For 24/7 classical music, listen on WKSU HD-3 or at wksu.org.

Kent State University, Kent State and KSU are registered trademarks and may not be used without permission. Kent State University, an equal opportunity, affirmative action employer, is committed to attaining excellence through the recruitment and retention of a diverse workforce. 14-1834

36

The Cleveland Orchestra

Giancarlo Guerrero Principal Guest Conductor Cleveland Orchestra Miami

The 2014-15 season marks Giancarlo Guerrero’s sixth year as music director of the Nashville Symphony and fourth year as principal guest conductor of Cleveland Orch­estra Miami.

He made his Cleveland Orchestra debut in May 2006. He has led the Cleveland ensemble in concerts in Miami, at Severance Hall, at Blossom, and in the Orchestra’s annual community concert in downtown Cleveland.

Mr. Guerrero’s recent seasons with Nashville have featured several world premieres, including a new work by Richard Danielpour, a Béla Fleck banjo concerto, and a Terry Riley concerto for electric violin. Recent and upcoming guest engagements include his debut with the Houston Grand Opera in 2015, leading The Cleveland Orchestra in a Midwest Tour during the first half of 2014, as well as appearances in North America with the orchestras of Boston, Cin­ cinnati, Dallas, Detroit, Houston, Indianapolis, Philadelphia, Toronto, and Vancouver. Internationally, he is increasingly active in Europe, where recent and upcoming engagements include performances with the BBC Symphony Orchestra, Copenhagen Philharmonic, Frankfurt Radio Symphony, Orchestre National de France, London Philharmonic Orchestra, and Deutsches Symphonie-Orchester Berlin.

A fervent advocate of new music and contemporary composers, Mr. Guerrero has collaborated with and conducted works by some of America’s most respected composers, including John Adams, John Corigliano, Michael Daugherty, Osvaldo Golijov, Jennifer Higdon, Aaron Jay Kernis, and Roberto Sierra. His first album with the Nashville Symphony, on Naxos, featured works by Daugherty and won three 2011 Grammy Awards. Two more albums have been released, of music by Argentine legend Astor Piazzolla and by American composer Joseph Schwantner; the latter recording received a Grammy Award in 2012.

Mr. Guerrero has appeared regularly in Latin America, conducting the São Paulo State Symphony Orchestra and with the Orquesta Sinfónica Simón Bolívar in Caracas, Venezuela, where he has also worked with young musicians in the country’s much-lauded El Sistema music education program.

Born in Nicaragua and raised in Costa Rica, Giancarlo Guerrero received a bachelor’s degree in percussion from Baylor University and his master’s degree in conducting from Northwestern University. He was music director of Oregon’s Eugene Symphony (2003-09) and served as associate conductor of the Minnesota Orchestra (1999-2004). Mr. Guerrero received the American Symphony Orchestra League’s Helen M. Thompson Award recognizing outstanding achievement among young conductors. Prior to his tenure in Minnesota, he was music director of the Táchira Symphony Orchestra in Venezuela.

Severance Hall 2014-15

Conductor

37

Justice. Kindness. Jewish peoplehood. Let it live on.

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For a confidential conversation about including the Jewish Federation in your estate plan, please contact Carol Wolf at 216.593.2805 or e-mail cwolf@jcfcleve.org.

We look forward to hearing from you.

www.jewishclevelandgifts.org

Cantus in Memory of Benjamin Britten composed 1977

died in December 1976 at a time when Arvo Pärt was still living in his native Estonia under Soviet rule. Although Pärt felt instinctively that Britten was the sort of composer he would like to be, he had had little opportunity to hear his music and never knew him personally. He sensed that Britten exemplified an ideal of purity, and was moved to pay tribute in a composition that is entirely free of distortion or intrusion, and consists solely of the notes of the descending Aminor scale, all white notes on the piano keyboard. In no sense does Pärt’s Cantus resemble Britten’s music, but it does have a relentless logic and clarity that Britten might well have admired.

Pärt’s religious convictions are strong, although this is not a sacred piece. He has often spoken of the value of silence in his life, so this piece begins and ends with half a bar of silence, and it moves at a slow pace. The tolling bell on the note A marks the world’s grief, while the strings are concerned solely with the chord of A-minor and its descending minor scale. The total effect, like that of other Pärt pieces, is of monumental stillness, animated by constant internal motions, like the flow of blood within the body.

It is strange that such a spiritual-sounding work is put together with mechanical precision, but once Pärt had decided on the scheme, he had only to let it work itself out, with some cosmetic control of the beginning and end. Its rules are: 1) each string voice descends from the note A, alternating long and short notes; 2) each descent goes one note further than the previous one; 3) each section of instruments moves twice as slowly as its predecessor, i.e. the first violins start with a half-note, the seconds with a whole-note, the violas with two whole-notes, the cellos with four whole-notes, the double basses with eight whole-notes.

The first violins thus play many more descending scales than the others and descend further from their starting point.

The double basses only descend four notes, which are then extended to allow them to reach their low A for the close. This creates an extraordinary sense of fulfi lment, as if the piece represents a life well lived, arising from nothing and ending with nothing, and a fitting tribute from one composer to another.

BENJAMIN BRIT TEN

by

Arvo

PÄRT born September 11, 1935 Paide, Estonia currently living in Talinn, Estonia and Berlin, Germany

At a Glance Pärt wrote Cantus in Memory of Benjamin Britten in March 1977, shortly after Britten’s death on December 4, 1976; he made some minor revisions in 1980 prior to publication the following year.

This work runs just over 5minutes in performance.

Pärt scored it for string orchestra and a bell tuned to A above middle C.

—Hugh Macdonald © 2014

Severance Hall 2014-15

About the Music

39

Alisa Weilerstein American cellist Alisa Weilerstein is recognized for her virtuosity, technical assurance, and impassioned musicianship. The Cleveland native made her Cleveland Orchestra debut at age 13, in October 1995. Her most recent performances here were in May 2012.

Ms. Weilerstein appears with major North American and European orchestras, gives recitals throughout the U.S. and Europe, and participates in international festivals. This season, she is also performing the Elgar Cello Concerto with the orchestras of Dallas, Milwaukee, and New York, as well as with the Netherlands Philharmonic, Tokyo’s NHK Symphony, London’s Philharmonia Orchestra, and the Stuttgart Symphony.

A champion of new music, Alisa Weilerstein has frequently performed Osvaldo Golijov’s Azul and Omaramor. She gave the world premieres of Lera Auerbach’s 24 Preludes for Violoncello and Piano, Gabriel Kahane’s song cycle, and Little Sleep’s-Head Sprouting Hair in the Moonlight, and the New York premiere of Matthias Pintscher’s Reflections on Narcissus.

As a chamber musician, Ms. Weilerstein is among a returning core of musicians at Spoleto Festival USA and performs with her parents, Donald and Vivien, as part of the Weilerstein Trio.

An exclusive Decca Classics artist, Ms. Weilerstein has recorded the Elgar and Elliott Carter concertos, an album that was named Recording of the Year 2013 by BBC Music magazine, and the Dvořák concerto. Solo, her compilation of unaccompanied 20th-century cello music, is due for release later this year.

In 2011, Alisa Weilerstein was named a MacArthur Foundation Fellow.

Her other honors include Lincoln Center’s Martin E. Segal prize for exceptional achievement, the 2006 Leonard Bernstein Award, and an Avery Fisher Career Grant. First Lady Michelle Obama invited Ms. Weilerstein to perform at the White House in 2009. Later that year, she toured Venezuela with the Simón Bolívar Symphony Orchestra, and returned to teach and perform with the orchestra as part of its El Sistema program of music education.

Alisa Weilerstein is a graduate of the Cleveland Institute of Music’s Young Artist Program, where she worked with Cleveland Orchestra member, Richard Weiss. She was a member of the Cleveland Orchestra Youth Orchestra 1992-94.

In 2004, she earned a degree in Russian history from Columbia University.

Alisa Weilerstein serves as an advocate for the Juvenile Diabetes Research Foundation, having been diagnosed with type I diabetes at age nine. For more information, visit www.alisaweilerstein.com.

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Guest Artist

The Cleveland Orchestra

Cello Concerto in E minor, Opus 85 composed 1918-19

of his seventy-six years did Elgar enjoy the simultaneous benefits of fame and creative abundance. For the first forty-two years, he was unknown in the wider world, and for the last fourteen his muse was in retirement, if not quite still. The work that closed this twenty-year period of high creativity was the Cello Concerto, completed in the summer of 1919. A year later, with the death of his beloved wife, Alice, Elgar withdrew more and more from public life and wrote no more masterpieces.

His slow progress toward national recognition was no doubt due to the fact that he grew up far from London and did not study with someone who could have helped him on his way.

He was largely self-taught, and did not at all match English people’s notion of a typical composer — expected in those days to be someone who clearly recognized and understood the beauty of art, and could talk about it, in the manner of Oscar Wilde, or at least a foreigner. A friend who had played under Elgar’s direction described him as “a very distinguished-looking English country gentleman, tall, with a large and somewhat aggressive moustache, a prominent but shapely nose and rather deep-set but piercing eyes. It was his eyes perhaps that gave the clue to his real personality: they sparkled with humour, or became grave or gay, bright or misty as each mood in the music revealed itself.

He looked upstanding, and had an almost military bearing. He was practical to a degree, he wasted no time. The orchestra, it is almost needless to say, adored him.”

Until the success of his Enigma Variations in London in 1899, Elgar was regarded as a provincial composer, which indeed he was, composing mostly for the regional festivals that flourished across the countrysides in late Victorian England. Then the great works appeared in steady succession — the Dream of Gerontius, Sea Pictures, the Pomp and Circumstance marches, In the South, the Introduction and Allegro for strings, the First Symphony, the Violin Concerto, the Second Symphony, Falstaff, and a group of three chamber works composed toward the end of the war: the Violin Sonata, the String Quartet, and the Piano Quintet.

These last three works were composed at Brinkwells, the house in Sussex where the Elgars moved in 1917. It was odd that

on ly f o r t w e n t y

by

Edward

ELGAR born June 2, 1857 Broadheath, England died February 23, 1934 Worcester, England

Severance Hall 2014-15

About the Music

41

Elgar would choose to live anywhere but in his beloved West Country, but this house brought him respite from the constant anxie­ties of World War I, and is readily associated with the leaner, more reflective musical style that the Cello Concerto perfectly illustrates. A letter written at this time describes his routine: “I rise about seven work till 8-15 — then dress, breakfast — pipe (I smoke again all day!) work till 12-30 lunch (pipe) — rest an hour — work till tea (pipe) — then work till 7-30 — change, dinner at 8. Bed at 10 — every day practically goes thus . . . We go for lovely walks . . . the woods are full of flowers, wonderful . . .”

On September 26, 1918, with the war still on, Elgar’s wife’s diary recorded “wonderful new music, real wood sounds & other lament wh. shd. be in a war symphony.” But this was to be a concerto, not a symphony, and as it neared completion the following summer, Elgar described it as “a real large work & I think good & alive.” The Cello Concerto was completed in July 1919 and first performed in the Queen’s Hall, London, on October 26 of that year with Felix Salmond as the soloist and Elgar himself conducting. (In the cello section of the orchestra — the London Symphony Orchestra — was a future conductor, John Barbirolli, then aged nineteen, who was later to conduct a historic recording of the work with Jacqueline du Pré.) For that first night, Elgar had been given too little rehearsal time, and the main impression was of orchestral incompetence. Ernest Newman reported that the orchestra “made a lamentable public exhibition of itself.” Later the work came to be recognized as one of the handful of supreme concertos for cello. In 1928, Elgar conducted a recording of the work with Beatrice Harrison as the soloist. t h e m u si c

We may discern in the Cello Concerto a sentiment of resignation and even of despair generated from within by that strong vein of melancholy that had always been an inescapable element of Elgar’s music, and from without by the desolating impact of the Great War. But the Cello Concerto is not a threnody, nor even, so far as we can tell, a deliberately planned swansong. It is reflective, playful, tearful, and energetic by turns, like all his best music, and we underestimate the work if we attach too much to its autumnal character — many of its pages might have been summoned into existence as part of Elgar’s Wand of Youth.

Unlike the traditional concerto, this one has four moveSeverance Hall 2014-15

About the Music

The work that closed Elgar’s great twentyyear period of high creativity was the Cello Concerto, completed in the summer of 1919. A year later, with the death of his beloved wife Alice, the composer with­drew more and more from public life and wrote no more masterpieces.

43

At a Glance Elgar wrote his Cello Concerto between Sepetmber 1918 and June 1919. The first performance took place in London on October 26, 1919, with the composer conducting and Felix Salmond as the soloist. (Salmond later moved to the United States, and taught at Juilliard and then at Curtis; his pupils included Bernard Greenhouse and Leonard Rose.)

This concerto runs about 30 minutes in performance.

Elgar scored it for 2 flutes and piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, and strings.

The Cleveland Orchestra first presented Elgar’s Cello Concerto at a weekend of concerts in February 1967 under Louis Lane’s direction, with Jacqueline Du Pré as soloist. It was most recently performed as part of the 2014 Blossom Music Festival, conducted by Jahja Ling with Yo-Yo Ma as the soloist.

ments, not three. Brahms’s Second Piano Concerto had expanded the form to four movements and taken on mighty symphonic proportions, but Elgar here has four movements not for length and weight but for diversity and contrast. The movements are all concise, especially when compared to the expansive landscape of the three movements in Elgar’s Violin Concerto. As in his two symphonies, the two central movements, a scherzo and a slow movement, offer a complete contrast in momentum and temper. The declamatory opening of the work recurs truncated at the beginning of the scherzo and in full, this time with marvelously valedictory effect, at the end of the finale.

After a declamatory opening for the soloist, the first movement’s gentle lilt is far removed from any pomp or circumstance. Over the meandering first theme Elgar wrote in his sketchbook: “very full, sweet and sonorous,” and although the whole orchestra tries to give it breadth, it ends as it began, bleak and bare. The scherzo second movement that follows is in 4/4 time with bustling sixteenths reminiscent of Elgar’s Introduction and Allegro for strings of many years earlier. There is a brief expressive phrase offered here and there in contrast, but lightness prevails.

For the work’s slow movement, Elgar indulges unashamedly in the yearning phrases and sliding harmony that breathe nostalgia and tranquility. This is not a lament but a private world of sweetness so direct and complete that it requires no development or expansion. For all its heart-rending beauty, the movement is short, and its half-close leads directly into the finale fourth movement. Here, after another declamatory start, the music settles into a sturdy rhythm that proceeds in a businesslike and oddly impersonal fashion right through to the closing pages. Then, as if yielding to some fatal destiny, Elgar adds an epilogue in slow tempo as passionate as anything he had ever written, full of drooping phrases and desperate gestures, like a dying man reaching up for help. There is asperity too, in the harmony, and the music slides inevitably into a brief memory of the slow movement followed by the work’s opening statement and a brief energetic (and surely ironic in intention) close.

—Hugh Macdonald © 2014 Hugh Macdonald lives in England and is the Avis H. Blewett Professor Emeritus of Music at Washington University in St. Louis.

He s a noted authority on French music. He has written books on Beethoven, Berlioz, Bizet, and Scriabin.

44

About the Music

The Cleveland Orchestra

Harmonielehre [Harmony Lesson] composed 1984-85

was named adviser on new music to the San Francisco Symphony Orchestra in 1978, and in 1982 his association with the orchestra was strengthened when he became composer-in-residence. Harmonielehre was composed during this period, during the same time he was planning his first opera, Nixon in China, which caused a sensation when first performed by in 1987 the Houston Grand Opera. These two works perfectly illustrate the strengths of Adams’s style, which extend much further than the conventional “minimalist” label that became attached to it.

The constant repetition and variation of tiny musical units, by which minimalist music is usually recognized, is only a part of Adams’s armory as a composer. The title of this work is sufficient to tell us that harmony is at the center of his thinking — Harmonielehre is the standard German name for a harmony textbook, especially associated with Arnold Schoenberg, whose book of that name is, curiously, not a guide to the atonal music of which Schoenberg was a pioneer, but a textbook in conventional German harmony of the late 19th century. In this work, Adams has clearly moved beyond that language, but nonetheless his harmonies are based on the traditional triads, and are wonderfully expressive and varied. As in late Romantic music by, say, Richard Strauss or Maurice Ravel, Adams’s harmonic rhythm is slow, so we have time to savor each one and to hear it forming bit by bit, or shifting in kaleidoscopic colors. The bass line often moves very slowly, as solid as the trunk of a tree, while the textures above are teeming with activity, like leaves constantly shaking and rustling in the wind.

Texture and color are also treated in masterly fashion, thanks to the very large orchestra Adams calls for and his original treatment of instruments in the ensemble. The scoring can encompass extremes of loud and soft, of high and low. And combinations of two instruments can deceive the ear by sounding like a third instrument entirely. In the sphere of rhythm, the micro-rhythm of the piece is an almost perpetual ticking of tiny beats, whereas the macro-rhythm is entirely irregular and unpredictable. A melody of long notes will move at seemingly random moments, by no means in accordance with the barline or the main beats. The influence here is surely Sibelius,

john adams

by

John

ADAMS born February 15, 1947 Worcester, Massachusetts currently residing in Berkeley, California

Severance Hall 2014-15

About the Music

45

A new season begins.

Maine Sublime: Frederic Church’s “Twilight in the Wilderness” October 4, 2014 to January 25, 2015

Jacob Lawrence: The Toussaint L’Ouverture Series October 11, 2014 to January 4, 2015

Epic Systems: Three Monumental Paintings by Jennifer Bartlett September 7, 2014 to February 22, 2015

ClevelandArt.org

#ClevelandMuseumofArt

Twilight in the Wilderness, 1860. Frederic Edwin Church (American, 1826–1900). Oil on canvas; 101.6 x 162.6 cm. The Cleveland Museum of Art, Mr. and Mrs. William H. Marlatt Fund 1965.233.

Mount Katahdin from Upper Togue Lake, (detail), 1877–78. Frederic Edwin Church Frederic Edwin Church. Olana State Historic Site, Hudson, NY, Office of Parks, Recreation and Historic Preservation OL.1981.70.

The Life of Toussaint L’Ouverture, No. 20: General Toussaint L’Ouverture, 1938. Jacob Lawrence. Courtesy Amistad Research Center, Tulane University, New Orleans, Aaron Douglas Collection.

Song, (detail), 2007. Jennifer Bartlett. The Cleveland Museum of Art, Gift of Agnes Gund 2008.117. © 2014 Jennifer Bartlett.

who liked to move the most prominent elements of the music at unexpected moments while maintaining a regular murmur or bustle of activity elsewhere in the orchestra. Adams is also to be compared to Sibelius in his command of slow music that can morph into something much quicker, and the reverse.

The first movement has no title. It establishes its presence with forceful repetitions of a minor chord, which gradually give way to more complex harmony and lighter textures. Adams recounts that this opening came to him after a dream in which he saw an oil-tanker in San Francisco Bay that “suddenly took off like a rocket ship with an enormous force of levitation.” It is some while before a melody emerges in the strings, yet it is clear that melody is not the movement’s main goal; rather we should be taking in each harmony and each texture and the movement’s overall shape, for despite its great sophistication, there is nothing in this music that defies the ear’s comprehension. In this respect, Adams rescued serious music from the excesses of atonalism that obsessed composers of the decade before.

The second movement is slow and thoughtful, with a title that refers to Wagner’s opera Parsifal and the incurable wound from which Amfortas suffers. The music rises slowly to a fearful scream and then falls back, seemingly lifeless.

The third-movement finale’s title is a reference to the medieval theologian Meister Eckhardt. Adams imagines Eckhardt floating through space with his daughter Emily (nicknamed Quackie) on his back whispering secrets of grace in his ear, although the music might easily be imagined to represent a quite different picture. We might also simply consider this as if it were the finale of a three-movement modern symphony — which is what, in truth, Adams composed.

—Hugh Macdonald © 2014

At a Glance Adams composed Harmonielehre in 1984-85. It was first performed on March 21, 1985, with Edo de Waart leading the San Francisco Symphony.

This work runs about 40 minutes in performance.

Adams scored it for 4 flutes (three doubling piccolos), 3 oboes (one doubling english horn), 4 clarinets (two doubling bass clarinets), 4 bassoons (two doubling contrabassoons), 4 horns, 4 trumpets, 3 trombones, 2 tubas, timpani, percussion (tubular bells, 2 marimbas, vibraphone, xylophone, glockenspiel, 2 triangles, crotales, suspended cymbals, sizzle cymbals, bell tree, tam-tam, bass drum, gong), 2 harps, piano, celesta, and strings.

The Cleveland Orchestra has performed Harmonielehre on only two previous occasions, in a weekend of concerts in April 1991 conducted by the composer, and in four concerts in October 2002 led by Robert Spano.

In appreciation of their support, The Cleveland Orchestra extends a special welcome to Tucker Ellis, whose guests are enjoying a special evening at Severance Hall this weekend.

Severance Hall 2014-15

About the Music

47

Sound for the Centennial TH E C AM PAI G N fo r Th e C le v el a n d O rc h es tr a

In anticipation of The Cleveland Orchestra’s 100th anniversary in 2018, we have embarked on the most ambitious fundraising campaign in our history. The Sound for the Centennial Campaign seeks to build the Orchestra’s Endowment through cash THE gifts and legacy commitments, while also securing broad-based and increasing anCLEVELAND ORCHESTRA nual support from across Northeast Ohio.

The generous individuals and organizations listed on these pages have made long-term commitments of annual support, endowment funds, and legacy declarations to the Campaign as of October 5, 2014. We gratefully recognize their extraordinary commitment toward the Orchestra’s future success. Your participation can make a crucial difference in helping to ensure that future generations of concertgoers experience, embrace, and enjoy performances, collaborative presentations, and education programs by The Cleveland Orchestra. To join this growing list of visionary contributors, please contact Jon Limbacher, Chief Development Officer, at 216-231-7520. gifts of $5 million and more

The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts and Culture Mr. and Mrs. Alexander M. Cutler

Maltz Family Foundation Mr. and Mrs. Albert B. Ratner Anonymous

gifts of $1 million to $5 million

Art of Beauty Company, Inc. BakerHostetler Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mrs. M. Roger Clapp Eaton FirstEnergy Foundation Forest City Enterprises, Inc. The George Gund Foundation Mr. and Mrs. Michael J. Horvitz Hyster-Yale Materials Handling NACCO Industries, Inc. Jones Day The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley KeyBank Kulas Foundation Mr. and Mrs. Dennis W. LaBarre Mrs. Norma Lerner The Lubrizol Corporation The Andrew W. Mellon Foundation

48

Ms. Beth E. Mooney Sally S.* and John C. Morley John P. Murphy Foundation David and Inez Myers Foundation The Eric & Jane Nord Family Fund Ohio Arts Council The Payne Fund PNC Bank Julia and Larry Pollock Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. Alfred M. Rankin, Jr. James and Donna Reid Barbara S. Robinson The Leighton A. Rosenthal Family Foundation The Sage Cleveland Foundation The Ralph and Luci Schey Foundation The Kelvin and Eleanor Smith Foundation The J. M. Smucker Company Joe and Marlene Toot Anonymous (3)

Sound for the Centennial Campaign

The Cleveland Orchestra

gifts of $500,000 to $1 million

Gay Cull Addicott Darby and Jack Ashelman Claudia Bjerre Jeanette Grasselli Brown and Glenn R. Brown Robert and Jean* Conrad GAR Foundation Richard and Ann Gridley The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation Mr. and Mrs. Douglas A. Kern James and Gay* Kitson

Virginia M. and Jon A. Lindseth Ms. Nancy W. McCann Nordson Corporation Foundation The Honorable and Mrs. John Doyle Ong Charles and Ilana Horowitz Ratner Sally and Larry Sears Mr. and Mrs. Richard K. Smucker Squire Patton Boggs (US) LLP Thompson Hine LLP Anonymous (2)

gifts of $250,000 to $500,000

Randall and Virginia Barbato John P. Bergren* and Sarah S. Evans The William Bingham Foundation Mr. and Mrs.* Harvey Buchanan Cliffs Natural Resources The George W. Codrington Charitable Foundation Mr. and Mrs. Matthew V. Crawford William and Anna Jean Cushwa Nancy and Richard Dotson Patricia Esposito Sidney E. Frank Foundation Albert I. and Norma C. Geller The Gerhard Foundation Mary Jane Hartwell David and Nancy Hooker Mrs. Marguerite B. Humphrey James D. Ireland III Trevor and Jennie Jones Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation

Mr. Clarence E. Klaus, Jr. Giuliana C. and John D. Koch Dr. Vilma L. Kohn Mr. and Mrs. Alex Machaskee Robert M. Maloney and Laura Goyanes Elizabeth Ring Mather and William Gwinn Mather Fund Mr. Donald W. Morrison Margaret Fulton-Mueller National Endowment for the Arts William J. and Katherine T. Oâ&#x20AC;&#x2122;Neill Parker Hannifin Corporation Mr. and Mrs. James A. Saks Hewitt and Paula Shaw The Skirball Foundation R. Thomas and Meg Harris Stanton Mr. and Mrs. Jules Vinney* David A. and Barbara Wolfort

gifts of $100,000 to $250,000

The Abington Foundation Mr. and Mrs. George N. Aronoff Jack L. Barnhart Fred G. and Mary W. Behm Ben and Ingrid Bowman Dr. Christopher P. Brandt and Dr. Beth Sersig Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation Mary Kay DeGrandis and Edward J. Donnelly George* and Becky Dunn Mr. Allen H. Ford Dr. and Mrs. Hiroyuki Fujita Dr. Saul Genuth The Giant Eagle Foundation JoAnn and Robert Glick Hahn Loeser & Parks LLP Iris and Tom Harvie Jeff and Julia Healy Mr. Daniel R. High Mr. and Mrs.* S. Lee Kohrman Kenneth M. Lapine and Rose E. Mills

Severance Hall 2014-15

Dr. David and Janice Leshner Mrs. Emma S. Lincoln Linda and Saul Ludwig Dr. and Mrs. Sanford E. Marovitz Mr. Thomas F. McKee The Margaret Clark Morgan Foundation The Nord Family Foundation Mr. Gary A. Oatey Park-Ohio Holdings Corp.

Polsky Fund of Akron Community Foundation Quality Electrodynamics (QED) Helen Rankin Butler and Clara Rankin Williams The Reinberger Foundation Audra and George Rose RPM International Inc. Mrs. David Seidenfeld Andrea E. Senich Naomi G. and Edwin Z. Singer Sandra and Richey Smith Ms. Lorraine S. Szabo Virginia and Bruce Taylor Dorothy Ann Turick

Ms. Ginger Warner The Denise G. and Norman E. Wells, Jr. Family Foundation Mr. Max W. Wendel Paul and Suzanne Westlake Marilyn J. White The Edward and Ruth Wilkof Foundation Katie and Donald Woodcock William Wendling and Lynne Woodman Anonymous

Sound for the Centennial Campaign

* deceased

49

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LEARNING MORE ABOUT THE MUSIC

SEASON

Concert Previews The Cleveland Orchestra offers a variety of options for learning more about the music before each concert begins.

For each concert, the program book includes program notes commenting on and providing background about the composer and his or her work being performed that week, along with biographies of the guest artists and other information. You can read these before the concert, at intermission, or afterward. (Program notes are also posted ahead of time online at clevelandorchestra.com, usually by the Monday directly preceding the concert.)

The Orchestra’s Music Study Groups also provide a way of exploring the music in more depth. These classes, professionally led by Dr. Rose Breckenridge, meet weekly in locations around Cleveland to explore the music being played each week and the stories behind the composers’ lives.

Free Concert Previews are presented one hour before most subscription concerts throughout the season at Severance Hall.

Cleveland Orchestra Concert Previews are presented before every regular subscription concert, and are free to all ticketholders to that day’s performance. Previews are designed to enrich the concert-going experience for audience members of all levels of musical knowledge through a variety of interviews and through talks by local and national experts.

Concert Previews are made possible by a generous endowment gift from Dorothy Humel Hovorka.

October 30, November 1 “One Summer Night . . .” with guest speaker Francesca Brittan, assistant professor of music, Case Western Reserve University

October 31 “From Darkness to Light” with Rose Breckenridge, Cleveland Orchestra Music Study Groups administrator and lecturer

November 6, 8, 9 “Love Letters of Farewell” with Rose Breckenridge, Cleveland Orchestra Music Study Groups administrator and lecturer

November 15 “Fiddlers, Fathers, Sons, and Rivulets of Dew” with guest speaker Timothy Cutler, professor of music theory, Cleveland Institute of Music

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Severance Hall 2014-15

Concert Previews

51

for expressing your imagination.

Inspiring. Thought Provoking. PNC is proud to sponsor The Cleveland Orchestra. Because we appreciate all that goes into your work.

Š2014 The PNC Financial Services Group, Inc. All rights reserved. PNC Bank, National Association. Member FDIC

52

The Cleveland Orchestra

Severance Hall

Saturday evening, November 15, 2014, at 8:00 p.m.

Michael Tilson Thomas, conductor franz liszt

(1811-1886)

wolfgang amadè mozart

(1756-1791)

SEASON

Mephisto Waltz No. 1 (Dance in the Village Inn) Violin Concerto No. 5 (“Turkish”) in A major, K219

1. Allegro aperto

2. Adagio 3. Rondo: Tempo di menuetto

gil shaham, violin

INTERMISSION

samuel adams (b. 1985)

Drift and Providence

Embarcadero — Drift I — Divisadero — Drift II — Providence

Samuel Adams

sound design by

maurice ravel

Daphnis and Chloé, Suite No. 2

(1875-1937)

1. Daybreak — 2. Pantomime — 3. Danse générale

This Severance Hall concert is sponsored by PNC Bank, a Cleveland Orchestra Partner in Excellence.

The concert will end at approximately 10:15 p.m.

Severance Hall 2014-15

Concert Program — Week 7

53

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The Cleveland Orchestra

INTRODUCING THE CONCERT

The Devil, Ballet & Providence

in the midst of our regular weekends at Severance Hall presents us a unique opportunity to welcome and enjoy the artistry of one of America’s other great, acclaimed orchestras — the San Francisco Symphony, in its 20th season under the baton of its music director, Michael Tilson Thomas — along with an esteemed guest soloist, Gil Shaham, whose playing is always welcome here in Northeast Ohio.

The San Francisco Symphony and Tilson Thomas have played here together before, in a weekend of concerts in 2004, and we are pleased to welcome them here again. It is a special occasion to hear another ensemble in our own home, and to understand that greatness of sound comes in different colors, textures, and nuance.

For this tour program, Tilson Thomas has chosen a program of ingredients familiar to us — from a Mozart concerto to a classic Ravel ballet score — each paired with a less familar work. Mozart comes after one of Franz Liszt’s powerful orchestral MTT, works, created from Mephisto’s legendary Samuel Adams, and Gil Shaham music prowess. In the second half, Ravel follows the sonorous treat of a recent work by a favored San Francisco composer not yet on our horizons. Samuel Adams brings a fresh soundworld into our home, deft ly juxtaposed with the older masterpieces on the program. Sit back, relax, compare, and enjoy!

T H I S S P E C I A L S A T U R D AY C O N C E R T

—Eric Sellen

Severance Hall 2014-15

Introduction

55

Mephisto Waltz No. 1 (Dance in the Village Inn) composed 1860

in its original form is an orchestral piece. It is one of a pair written in 1860 called Two Episodes from Lenau’s ‘Faust,’ the first being among Liszt’s most visionary, mysterious, and predictably non-popular works, Nocturnal Procession; the other being the brilliantly vivid Dance in the Village Inn, subtitled Mephisto Waltz.

Almost immediately, and to the delight now of many generations of pianists and audiences, Liszt made a piano transcription of the Mephisto Waltz. (Properly speaking, this is the Mephisto Waltz No. 1 — Liszt added two more Mephisto waltzes in 1881 and 1883, with No. 3 especially being one of the most stunning of his late works; he sketched a fourth in 1885.

There is even a Mephisto Polka, also from 1883.)

The scene in the first waltz is easily apprehended. Faust and Mephisto come to an inn, Mephisto seizes the violin to make the music hotter, wild abandon among the dancers, glimpses of a starlit night with the voice of the nightingale, and a turbulent close. Liszt provided an alternative ending, quiet and rarely heard, and illustrating a line from Lenau: “. . . und brausend verschlingt sie das Wonnenmeer” (“. . . and the surge of the ocean of lust swallows them”).

—Michael Steinberg

T H E M E P H I S T O WA LT Z

by

Franz

LISZT born October 22, 1811 Doborján, Hungary died July 31, 1886 Bayreuth, Germany

Michael Steinberg, the San Francisco Symphony’s program annotator 1979-99 and a contributing writer to the Symphony’s program books until his death in 2009, was one of the nation’s pre-eminent writers on music.

At a Glance Liszt completed his first “Mephisto Waltz,” as the second of Two Episodes from Lenau’s ‘Faust,’ in 1860. The “Mephisto Waltz” was first performed, by itself, on March 8, 1861, in Weimar, with Liszt conducting. The Two Episodes were published in 1865-66. Liszt subsequently re-conceived the waltz as a piece for piano alone; he also created a piano-duet version of the Two Episodes. Liszt later wrote three additional “Mephisto Waltzes” as free-standing works.

This orchestral waltz runs about 10 minutes in performance. Liszt’s orchestration calls for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, percussion (cymbals, triangle), harp, and strings.

Severance Hall 2014-15

About the Music

57

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Before the Revolution: French Painters and Sculptors of the 18Th Century

Explore the origins of the universe, life, galaxies, evolutionary theory, human evolution, solar system, mammals and much more.

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with Don Rosenberg

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Art and Power in Imperial Rome with Maggie Popkin, Ph.D. Assistant Professor of Roman Art, CWRU

Glenn Starkman, Ph.D.

Professor of Physics and Astronomy, Director of The Center for Education and Research in Cosmology and Astrophysics, and Director of The Institute for the Science of Origins, CWRU

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Professor of Neurology, Physiology & Biophysics, and Neurosciences, Chair of Anatomy, and Fellow of The Institute for the Science of Origins, CWRU

Cynthia Beall, Ph.D.

Distinguished University Professor in the Department of Anthropology, and Fellow of The Institute for the Science of Origins, CWRU

Visit our website at www.cwru.ed/lifelonglearning or call the Siegal Lifelong Learning office at 216.368.2090/1 for full program information and to register.

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Violin Concerto No. 5 (“Turkish”) in A major, K219 composed 1775

means most of all Mozart the pianist, and he was probably the greatest of his time. But he was no mean violinist either. Wolfgang began to play the violin at the beginning of his career, which is to say when he was six, and he was just seven when he made his public debut playing a concerto — we do not know whose — at a birthday celebration for Archbishop Sigismund von Schrattenbach of Salzburg.

Playing the violin was his meal ticket during the galley years of working for another Archbishop of Salzburg, the boorish (at least from Mozart’s perspective) Count Hieronymus Colloredo. One of the ways Mozart celebrated his liberation from Colloredo in 1781 was to give up the violin. When he played chamber music with friends, he took the viola part, and the inventory of his possessions at his death shows that he no longer even owned a violin.

We cannot be absolutely sure that Mozart wrote any or all of his five concertos for himself, but it is probable. The A-major Concerto from December 1775 is the last of the five. The concertos show a remarkable progression, and even the first two show a fair difference in quality and confidence. But the Fourth and Fifth concertos live up to the new standard Mozart had set for himself.

The key of A major is a special one for Mozart, and the music for which he chooses this key often partakes of a special and moonlit luminosity. The first solo entrance in a concerto was often, for Mozart, an occasion for wit and ingenuity. Here he gives us a double surprise. The solo violin enters adagio, with murmuring strings and delicately accented wind chords that look ahead to the farewell trio in the opera Così fan tutte (and a lovely example of Mozart’s A major moonlight); then, at the resumption of the quick tempo, he adds a brand new violin tune to the energetic zigzag arpeggios of the original orchestral beginning. More adventures lie ahead and the movement ends with a final appearance of the little upward flick across a chord of A major.

The second movement is a real adagio, which is relatively rare in Mozart, and its soft wave patterns recall the poetic adagio surprise of the solo entrance in the first movement. mozart the performer

by

Wolfgang Amadè

Mozart born January 27, 1756 Salzburg died December 5, 1791 Vienna

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About the Music

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At a Glance

The finales of Mozart’s violin concertos are not brilliant, virtuosic closes like those in the piano concertos. This one begins as an ever-so-slightly coquettish minuet, but its courtly gestures are interrupted by piquant country dance music. This episode long ago earned the concerto the nickname Turkish, but this vigorous music is in fact Hungarian. (“Turkish,” to the Austrians, was a loose but handy designation for something hailing from east of Vienna.) The movement returns to the minuet music, sweetly recast, and makes a graceful exit with a variant of the A major arpeggio we came to know so well in the first movement.

Mozart completed his A-major violin concerto in Salzburg on December 20, 1775. The date of first performance is unknown, but probably took place around that time, most likely with Mozart as the soloist.

This concerto runs about 30 minutes in performance.

Mozart scored it for 2 oboes, 2 horns, strings, and solo violin.

Mozart did not document his own cadenzas candenzason onpaper paperfor forthis with this concerto; concerto; Gil Shaham Gil Shaham is playing is playing cadenzas cadenzas written by written Joseph by October Joseph Joachim.

Joachim. 4, 2009

—Michael Steinberg

Kulas Series of Keyboard Conversa Jeffrey Siegel

at Cleveland State University’s C

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Chopin for Lovers

Celebra

Every work on the program is inspired by a different woman in the composer’s love life!

December 6, 2009 Kulas Series of Keyboard Conversations® Chopin the Patriot with Jeffrey Siegel The heroic Polonaises, the poignant and bouyant Season 2014-2015 Mazurkas, and the27th vivacious Waltzes.

Presented by Cleveland State University’s Center for Arts and Innovation

March 14, 2010 Masterly Chopin the Storyteller

Sunday, October 19, 2014

Passionate Classicists — Schubert and Brahms Enthralling Epic poems and short stories in tone. Ballades of Sunday, November 16, 2014 Chopin and Brahms, Novelettes of Schumann.

Charming Torment and Triumph — Music of Franz Liszt April 25, 2010 Scintillating

“An Afternoon Chopin and the Future Three Great “Bs” and exhilarati “An afternoon entertaining talk caress and Bach, Worksofof Chopin that the ear and—point toBeethoven and Bartók exhilarating music.” the future.

- The Sunday, May 3, 2015 – The Washington Post Sunday, March 15, 2015

Popular Piano Classics

All Concerts take place at 3:00 pm at Cl All concerts begin at 3:00 pm in Waetjen Auditorium, Euclid Ave. & E. 2 Cleveland State University’s Waetjen Auditorium, Ave. and or E. 21st St. www.csuohi Call (216)Euclid 687.5018 visit For more information call 216.687.5022 for more information. or visit www.csuohio.edu/concertseries/kc 60

About the Music

San Francisco Symphony

Drift and Providence composed 2011-12

is a composer of acoustic and electroacoustic music. He grew up in the San Francisco Bay Area, where he studied composition and electroacoustics at Stanford University while also working as a jazz bassist in and around San Francisco. Prior to a period in New York City, from 2010 to 2014, Adams received a master’s degree from Yale, where he studied primarily with Martin Bresnick.

His works draw from his experiences in a diverse array of fields, including noise and electronic music, jazz, and field recording. He has received commissions from Carnegie Hall, the San Francisco Symphony, New World Symphony, ACJW (a.k.a. The Academy, a program of Carnegie Hall, Juilliard, and the Weill Institute of Music), and the St. Lawrence String Quartet. In spring 2013, Adams served as composer-in-residence with Spoleto Festival USA. Recent and future projects include a violin concerto for Anthony Marwood and piano works for David Fung, Sarah Cahill, and Emanuel Ax. This coming spring, Adams continues his collaboration with the San Francisco Symphony, curating two evenings of music as part of the new SFS SoundBox series.

Samue l adam s

by

Samuel

Adams born December 30, 1985 San Francisco currently resides in Oakland, California

The composer has written the following comments about Drift and Providence: on Drift and Providence in the summer of 2011 and completed the score in February of the following year, splitting my time between Oakland, California, and Brooklyn, New York. The music is in five parts played without pause. The odd-numbered movements suggest archetypal musical signposts:

Embarcadero, the point of departure;

Divisadero, the point of furthest distance;

Providence, a desired place.

The even-numbered movements, entitled Drift I and Drift II, follow a series of shifting harmonies and gradual increases in energy.

As the title suggests, Drift and Providence is a work about the ocean. However, my interest was concerned not with emulating its sounds, nor painting an impressionistic image like Claude Debussy’s La Mer [The Sea]. Rather, this piece aims to develop a reactive sonic environment suggestive of a more contemporary disposition — that the water from whence we came is an object

i b e gan wo r k

Severance Hall 2014-15

About the Music

61

of psychological remove in a highly digitized and distracted life.

The work consists of two main elements. The first is a complex cloud of noise coaxed by the percussionists’ scraping of metallic instruments — cowbells, automobile brake drums, and sizzle cymbals. From this texture the sound designer isolates, amplifies and processes its overtones in realtime, which, recombined into the rest of the ensemble, develops into a digital glow. The other element is a dense orchestration with a heavy undertow, cresting and dissolving. The resulting music constantly evolves creating an environment where all its materials — the ocean, the city, the noise of digital life — coexist.

—Samuel Adams September 2014

At a Glance 3 clarinets (two doubling contrabass clarinet and bass clarinet), and 3 bassoons (one doubling contrabassoon), 4 horns, 2 trumpets, 2 trombones, bass trombone, tuba, timpani, a large percussion battery divided among four players (vibraphones, sizzle cymbals, bass drum, low toms, brake drums, snare drum, sandpaper blocks, crotales, tam-tam, large and medium triangles, cowbells, and gong), and strings. The live sound design is performed by the composer.

Adams wrote Drift and Providence as a co-commission from the San Francisco Symphony and the New World Symphony, funded in part by the Composer Assistance Program of New Music USA. Composed in 2011-12, the work was first performed on April 20, 2012, in Miami, by the New World Symphony conducted

by Michael Tilson Thomas.

This work runs about 20 minutes in performance. Adams scored it for 3 flutes (two doubling piccolo), 3 oboes,

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62

About the Music

San Francisco Symphony

Suite No. 2 from Daphnis and Chloé composed 1909-12

to write music for a new ballet being planned by Sergei Diaghilev for the Ballets Russes, Ravel was as excited as the bounds of his even-tempered nature allowed. The Ballets Russes — with Diaghilev as director, Michel Fokine as choreographer, Léon Bakst as designer — had taken Paris by storm in 1909, and a commission from the company was a signal that a composer had arrived. Fokine had been urging Diaghilev to consider a ballet on the myth of Daphnis and Chloë, and in early 1909 began working with Ravel to devise a suitable scenario. For their source, they turned to the pastoral romance attributed to the 3rd-century Greek author Longus, as filtered through the late-16th-century French poet Jacques Amyot.

From the outset, the going was not easy, and the next performance season came and went with Daphnis et Chloé still a work in progress. The ballet finally made its way to the stage of the Théâtre du Châtelet about two years after Diaghilev had hoped, with Vaslav Nijinsky dancing the role of Daphnis and with Tamara Karsavina as Chloé. The premiere of the ballet in June 1912 left listeners and critics divided. Many wellinformed listeners were baffled by the rhapsodic nature of the music, which to some ears verged on the anarchic. And what Ravel gave to the production was somewhat at odds with the primitive barbarism of Bakst’s sets and Fokine’s ultra-modern choreography. In such a context, Ravel’s potentially effete aestheticism and his ultimately Romantic conception of Greek antiquity was on its own.

By the time Daphnis et Chloé reached the stage, Ravel had already extracted the first of his two orchestral suites from the score. In his “Autobiographical Sketch,” a brief document Ravel prepared in 1928, he described Daphnis et Chloé as “a great choreographic symphony . . . a vast musical fresco, less scrupulous in questions of archeology than faithful to the Greece of my dreams, which identifies quite willingly with that imagined and depicted by late eighteenth-century French artists.”

Ravel provided the following scenario, extracted in a general way from the plot of the entire ballet, to correspond to the Suite No. 2. His indications are inscribed in the appropriate spots of the score. “No sound but the murmur of rivulets fed

W H E N H E WA S A P P R O A C H E D

by

Maurice

RAVEL born March 7, 1875

Ciboure, Basses-Pyrénées died December 28, 1937 Paris

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About the Music

63

At a Glance Ravel composed the ballet Daphnis and Chloé (in one act, divided into three scenes) between 1909 and 1912. It was premiered by Sergei Diaghilev’s Ballets Russes on June 8, 1912, at the Théâtre du Châtelet in Paris. Vaslav Nijinsky and Tamara Karsavina danced the title roles; Pierre Monteux conducted. Ravel drew two suites of orchestral excerpts from the ballet, of which the second has especially gained wide acceptance in the concert hall.

Suite No. 2 runs about 15 minutes in performance.

Ravel’s score calls for piccolo, 2 flutes, alto flute, 2 oboes, english horn, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, 2 harps, celesta, timpani, percussion (bass drum, 2 side drums, cymbals, triangle, tambourine, castanets, glockenspiel), and strings, plus an optional mixed chorus (singing without words).

by the dew that trickles from the rocks. Daphnis lies stretched before the grotto of the nymphs. Little by little the day dawns.

The songs of birds are heard. Afar off a shepherd leads his flock. . . . Herdsmen enter, seeking Daphnis and Chloé. She at last appears encircled by shepherdesses. The two rush into each other’s arms. Daphnis observes Chloé’s crown. His dream was a prophetic vision: the intervention of Pan is manifest. The old shepherd Lammon explains that Pan saved Chloé, in remembrance of the nymph Syrinx, whom the god loved.

“Daphnis and Chloé mime the story of Pan and Syrinx.

Chloé impersonates the young nymph wandering over the meadow. Daphnis, as Pan, appears and declares his love for her. The nymph repulses him; the god becomes more insistent. She disappears among the rocks. In desperation, he plucks some stalks, fashions a flute, and on it plays a melancholy tune. Chloé comes out and imitates by her dance the accents of the flute.

“The dance grows more and more animated. In mad whirlings, Chloé falls into the arms of Daphnis. Before the altar of the nymphs he swears on two sheep his fidelity. Young girls enter; they are dressed as Bacchantes and shake their tambourines.

Daphnis and Chloé embrace tenderly. A group of young men come on the stage. Joyous tumult . . . a general dance.”

—James M. Keller James M. Keller serves as program annotator of the San Francisco Symphony and the New York Philharmonic. His book Chamber Music: A Listener’s Guide, published in 2011 by Oxford University Press, has just been released in paperback and Kindle formats and is appearing in Chinese later this year.

This note previously appeared in the program book of the New York Philharmonic and is reprinted with permission. Copyright © New York Philharmonic.

PROGRAM NOTES COPYRIGHT © 2014 SAN FRANCISCO SYMPHONY.

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About the Music

San Francisco Symphony

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San Francisco Symphony The San Francisco Symphony gave its first concerts in 1911 and has grown in acclaim under a succession of music directors: Henry Hadley, Alfred Hertz, Basil Cameron, Issay Dobrowen, Pierre Monteux, Enrique Jordá, Josef Krips, Seiji Ozawa, Edo de Waart, Herbert Blomstedt, and, since 1995, Michael Tilson Thomas.

The SFS has won such recording awards as France’s Grand Prix du Disque and Britain’s Gramophone Award, and the Mahler cycle on the Symphony’s own label has been honored with numerous Grammys, including those for Best Classical Album (Mahler’s Third, Seventh, and Eighth symphonies), Best Choral Performance and Best Engineered Classical Album (Mahler Eighth), and Best Orchestral Performance (Mahler Sixth and Seventh). The SFS recording of John Adams’s Harmonielehre and Short Ride in a Fast Machine won a 2013 Grammy for Best Orchestral Performance and an Echo Klassik award. A series of earlier recordings by MTT and the Symphony, for RCA Red Seal, also won praise, and their collection of Stravinsky ballets for RCA (The Rite of Spring, The Firebird, and Perséphone) received three Grammys.

Some of the most important conductors of the past and recent years have been guests on the SFS podium, including Bruno Walter, Leopold Stokowski, Leonard Bernstein, and Georg Solti. Composers who have led performances with the Symphony include Stravinsky, Ravel, Copland, and John Adams.

The SFS Youth Orchestra, founded in 1980, has become known around the world, as has the SFS Chorus, heard on recordings and on the soundtracks of such films as Amadeus and Godfather III. Adventures in Music, the longest running education program among US orchestras, brings music to children in grades one through five in San Francisco’s public schools. Keeping Score, designed to connect audiences with music and the emotions it conveys, aired on PBS television, is available on DVD and Blu-ray, and can be accessed at keepingscore.org.

SFS radio broadcasts, the first in the nation to feature symphonic music when they began in 1926, today carry the Symphony’s concerts and performances across the country.

66

Guest Artist

San Francisco Symphony

Michael Tilson Thomas Michael Tilson Thomas first conducted the San Francisco Symphony in 1974 and has been music director since 1995.

He continues as artistic director of the New World Symphony in Florida, which he founded in 1988. A Los Angeles native, he studied with John Crown and Ingolf Dahl at the University of Southern California, becoming music director of the Young Musicians Foundation Debut Orchestra at age 19 and working with Stravinsky, Boulez, Stockhausen, and Copland at the famed Monday Evening Concerts. He was pianist and conductor for Piatigorsky and Heifetz masterclasses and, as a student of Friedelind Wagner, an assistant conductor at Bayreuth.

In 1969, Mr. Tilson Thomas won the Koussevitzky Prize and was appointed assistant conductor of the Boston Symphony Orchestra. Ten days later, he came to international recognition, replacing music director William Steinberg in midconcert at Lincoln Center. He went on to become the BSO’s associate conductor, then principal guest conductor. He has also served as director of the Ojai Festival, music director of the Buffalo Philharmonic, principal guest conductor of the Los Angeles Philharmonic, and principal conductor of the Great Woods Festival.

Michael Tilson Thomas became principal conductor of the London Symphony Orchestra in 1988 and now serves as the ensemble’s principal guest conductor. For a decade, he served as co-artistic director of Japan’s Pacific Music Festival, which he and Leonard Bernstein inaugurated in 1990.

Michael Tilson Thomas’s recordings have won many international awards, and his recorded repertory reflects interests arising from work as conductor, composer, and pianist. His television credits include the New York Philharmonic’s Young People’s Concerts, and in 2004 he and the San Francisco Symphony launched Keeping Score on PBS television. His compositions include From the Diary of Anne Frank, Shówa/Shoáh (commemorating the 50th anniversary of the Hiroshima bombing), Poems of Emily Dickinson, Urban Legend, Island Music, and Notturno.

Mr. Tilson Thomas is a Chevalier des Arts et des Lettres of France, was selected as Gramophone 2005 Artist of the Year, was named one of America’s Best Leaders by U.S. News & World Report, has been elected to the American Academy of Arts and Sciences, and in 2010 was awarded the National Medal of Arts by President Barack Obama.

Severance Hall 2014-15

Music Director

67

S A N FR A NCISCO S YM PHON Y M U S I C I A N S

Michael Tilson Thomas Music Director & Conductor Herbert Blomstedt Conductor Laureate

Ragnar Bohlin Chorus Director

Donato Cabrera Resident Conductor

Vance George Chorus Director Emeritus

First Violins Alexander Barantschik Concertmaster Naoum Blinder Chair

Nadya Tichman

Associate Concertmaster San Francisco Symphony Foundation Chair

Mark Volkert

Assistant Concertmaster 75th Anniversary Chair

Jeremy Constant

Assistant Concertmaster

T H E

Mariko Smiley

Paula & John Gambs Second Century Chair

Melissa Kleinbart

Katharine Hanrahan Chair

Yun Chu Sharon Grebanier* Naomi Kazama Hull In Sun Jang Yukiko Kurakata

Catherine A. Mueller Chair

Suzanne Leon Leor Maltinski Diane Nicholeris Sarn Oliver Florin Parvulescu Victor Romasevich Catherine Van Hoesen* Jeanelle Meyer † Elbert Tsai † Second Violins Dan Carlson

Principal Dinner & Swig Families Chair

Paul Brancato

Acting Associate Principal Audrey Avis Aasen-Hull Chair

John Chisholm

Acting Assistant Principal

Dan Nobuhiko Smiley

The Eucalyptus Foundation Second Century Chair

Raushan Akhmedyarova David Chernyavsky* Cathryn Down Darlene Gray* Amy Hiraga Kum Mo Kim Kelly Leon-Pearce Elina Lev Isaac Stern Chair

Chunming Mo Polina Sedukh Chen Zhao Sarah Knutson † Dan Banner † Yuna Lee †

Violas Jonathan Vinocour

Basses Scott Pingel

Yun Jie Liu

Larry Epstein

Katie Kadarauch

Stephen Tramontozzi

Principal

Associate Principal Assistant Principal

John Schoening

Joanne E. Harrington & Lorry I. Lokey Second Century Chair

Principal

Associate Principal Assistant Principal Richard & Rhoda Goldman Chair

S. Mark Wright

Lawrence Metcalf Second Century Chair

Nancy Ellis Gina Feinauer David Gaudry David Kim Christina King Wayne Roden Nanci Severance Adam Smyla Matthew Young

Charles Chandler Lee Ann Crocker Chris Gilbert Brian Marcus William Ritchen

Cellos Michael Grebanier*

Robin McKee

Principal Philip S. Boone Chair

Peter Wyrick

Associate Principal Peter & Jacqueline Hoefer Chair

Flutes Tim Day

Principal Caroline H. Hume Chair Associate Principal Catherine & Russell Clark Chair

Linda Lukas

Alfred S. & Dede Wilsey Chair

Catherine Payne Piccolo

Amos Yang

Barbara Chaffe †

Margaret Tait

Oboes Jonathan Fischer*

Barbara Andres

Christopher Gaudi †

Assistant Principal Lyman & Carol Casey Second Century Chair The Stanley S. Langendorf Foundation Second Century Chair

Barbara Bogatin Jill Rachuy Brindel

Gary & Kathleen Heidenreich Second Century Chair

Sébastien Gingras David Goldblatt

Christine & Pierre Lamond Second Century Chair

Carolyn McIntosh* Anne Pinsker Karen Freer † ShuYi Pai †

The San Francisco Symphony string section utilizes revolving seating on a systematic basis. Players listed in alphabetical order change seats periodically.

Associate Principal

Acting Associate Principal

Pamela Smith

Dr. William D. Clinite Chair

Russ deLuna

English Horn Joseph & Pauline Scadi Chair

Jeffrey Rathbun † Clarinets Carey Bell

Principal William R. & Gretchen B. Kimball Chair

Luis Baez

Associate Principal & E-at Clarinet

David Neuman Jerome Simas Bass Clarinet

Steve Sánchez † Bassoons Stephen Paulson Principal

Steven Dibner

Associate Principal

Rob Weir Steven Braunstein Contrabassoon

68

The Musicians

San Francisco Symphony

Scan for more on SFS musicians.

Horns Robert Ward Principal

Nicole Cash

Associate Principal

Bruce Roberts

Assistant Principal

Jonathan Ring Jessica Valeri Kimberly Wright* Jeff Garza † Trumpets Mark Inouye

Principal William G. Irwin Charity Foundation Chair

Mark Grisez †

Keyboards Robin Sutherland

Jean & Bill Lane Chair

Library Margo Kieser

Principal Librarian Nancy & Charles Geschke Chair

John Campbell

Assistant Librarian

Dan Ferreira †

Assistant Librarian

*On Leave †Acting member of the San Francisco Symphony

Acting Associate Principal Peter Pastreich Chair

Guy Piddington

Sakurako Fisher

Ann L. & Charles B. Johnson Chair

President

Jeff Biancalana

Brent Assink

Executive Director

Trombones Timothy Higgins

John Kieser

General Manager

Principal Robert L. Samter Chair

Nicholas Winter

Director of Artistic Planning

Timothy Owner †

Oliver Theil

Acting Associate Principal

Paul Welcomer John Engelkes

Director of Communications

Rebecca Blum

Bass Trombone

Orchestra Personnel Manager

Joyce Cron Wessling

Tuba Jeffrey Anderson

Manager, Tours and Media Production

Nicole Zucca

Principal James Irvine Chair

Tours and Media Production Assistant

Tim Carless

Harp Douglas Rioth

Production Manager

Rob Doherty

Stage Manager

Principal

Jieyin Wu †

Dennis DeVost

Timpani Alex Orfaly †

Roni Jules

Stage Technician Stage Technician

Acting Principal Marcia & John Goldman Chair

Percussion Jacob Nissly Principal

Raymond Froehlich Tom Hemphill James Lee Wyatt III Victor Avdienko † Stan Muncy † Artie Storch †

Severance Hall 2014-15

The Musicians

69

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Conservatory of MusiC Ring in the Season with a BW Conservatory Concert

BW Men’s Chorus and Mr. Sun’s Echo Holiday Concert Sat., Dec. 6, 5 and 8 p.m.

Frank Bianchi, conductor Performing holiday favorites with candlelight processional, soloists, organ, brass ensemble and audience sing-along Tickets available online at www.bw.edu/tickets or call 440-826-8541

Conservatory Holiday Concert Sun., Dec. 7, 3 p.m.

Greg Banaszak, Brendan Caldwell, Dirk Garner, Jordan Saul, and Marc Weagraff, conductors Conservatory ensembles present music of the season in this popular annual event.

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The Cleveland Orchestra

Gil Shaham Gil Shaham was born in 1971 in Illinois and grew up in Israel, where he studied at the Rubin Academy of Music. He made his debut at age ten with the Jerusalem Symphony and Israel Philharmonic, and he studied with Dorothy DeLay, first at Aspen and later at Juilliard.

This season, Mr. Shaham continues his exploration of violin concertos of the 1930s, performing Prokofiev’s Violin Concerto No. 2 with the Knights at the Caramoor Fall Festival, Berg with the Philadelphia Orchestra, and Britten with both the Berlin Radio Symphony and the London Symphony Orchestra. He gives the world premiere performances of a new concerto by David Bruce with the San Diego Symphony, and performs Mendelssohn’s Violin Concerto in Tokyo, Canada, and Luxembourg, as well as two Bach concertos with the Dallas Symphony. In recital, he presents Bach’s complete solo sonatas and partitas in Chicago, Los Angeles, and other cities in a multimedia collaboration with video artist David Michalek.

Gil Shaham has recorded more than two dozen albums, earning multiple Grammy awards, a Grand Prix du Disque, a Diapason d’Or, and a Gramophone Editor’s Choice award. His recent recordings are issued on the Canary Classics label, which he founded in 2004. Mr. Shaham and his sister, pianist Orli Shaham, recently released Nigunim: Hebrew Melodies, featuring the first recording of Israeli composer Avner Dorman’s Nigunim. Other albums on the Canary Classics label feature Mr. Shaham performing works by Haydn, Mendelssohn, Mozart, Tchaikovsky, Elgar, and Fauré, among others. Upcoming titles include Bach’s complete works for solo violin and several installments in the violin concertos of the 1930s project.

Mr. Shaham was awarded an Avery Fisher Career Grant in 1990 and won the Avery Fisher Prize in 2008. He was named Instrumentalist of the Year by Musical America in 2012. He plays the 1699 “Countess Polignac” Stradivarius violin, and lives in New York City with his wife, violinist Adele Anthony, and their three children.

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Severance Hall 2014-15

A Very Surprising Place A very Surprising Place

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The Cleveland Orchestra

THE CLEVELAN D ORCHESTRA

Corporate Support

The Cleveland Orchestra gratefully acknowledges and salutes these corporations for their generous support toward the Orchestra’s Annual Fund, benefit events, tours and residencies, and special projects.

Cumulative Giving

JOHN L. SEVERANCE SOCIETY $5 MILLION AND MORE

KeyBank PNC Bank $1 MILLION TO $5 MILLION

BakerHostetler Bank of America Eaton FirstEnergy Foundation Forest City Enterprises, Inc. The Goodyear Tire & Rubber Company Hyster-Yale Materials Handling NACCO Industries, Inc. Jones Day The Lubrizol Corporation / The Lubrizol Foundation Medical Mutual of Ohio Merrill Lynch Parker Hannifin Corporation The Plain Dealer PolyOne Corporation Raiffeisenlandesbank Oberösterreich (Europe) The J. M. Smucker Company The John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative giving.

Listing as of September 2014.

Annual Support

gifts of $2,500 or more during the past year, as of September 20, 2014 The Partners in Excellence program salutes companies with annual contributions of $100,000 and more, exemplifying leadership and commitment to musical excellence at the highest level.

PARTNERS IN EXCELLENCE $300,000 AND MORE

Hyster-Yale Materials Handling NACCO Industries, Inc. KeyBank The Lubrizol Corporation Raiffeisenlandesbank Oberösterreich (Europe) The J. M. Smucker Company PARTNERS IN EXCELLENCE $200,000 TO $299,999

BakerHostetler Eaton FirstEnergy Foundation Forest City Enterprises, Inc. Jones Day PNC Bank Thompson Hine LLP PARTNERS IN EXCELLENCE $100,000 TO $199,999

The Cliffs Foundation Google, Inc. The Lincoln Electric Foundation Medical Mutual of Ohio Nordson Corporation and Foundation Squire Patton Boggs (US) LLP $50,000 TO $99,999

Dollar Bank Parker Hannifin Corporation Quality Electrodynamics (QED) voestalpine AG (Europe) Anonymous $25,000 TO $49,999 Charter One Greenberg Traurig (Miami) Huntington National Bank Litigation Management, Inc. Morrison, Brown, Argiz & Farra, LLC (Miami) Northern Trust Bank of Florida (Miami) Olympic Steel, Inc. Park-Ohio Holdings Corp.

The Plain Dealer RPM International Inc.

Severance Hall 2014-15

Corporate Annual Support

$2,500 TO $24,999 Akron Tool & Die Company American Fireworks, Inc. American Greetings Corporation Bank of America BDI Brothers Printing Co., Inc. Brouse McDowell Eileen M. Burkhart & Co LLC Buyers Products Company Calfee, Halter & Griswold LLP Cleveland Clinic The Cleveland Wire Cloth & Mfg. Co. Cohen & Company, CPAs Consolidated Solutions Dominion Foundation Ernst & Young LLP Evarts Tremaine The Ewart-Ohlson Machine Company Feldman Gale, P.A. (Miami) Ferro Corporation FirstMerit Bank Frantz Ward LLP Gallagher Benefit Services The Giant Eagle Foundation Great Lakes Brewing Company Gross Builders Hahn Loeser & Parks LLP Jones Day (Miami) Littler Mendelson, P.C. Live Publishing Company Macy’s Marsh/AIG (Miami) Materion Corporation Miba AG (Europe) MTD Products, Inc. North Coast Container Corp.

Northern Haserot Oatey Co. Ohio CAT Ohio Savings Bank, A Division of New York Community Bank Oswald Companies PolyOne Corporation The Prince & Izant Company The Sherwin-Williams Company Stern Advertising Agency Struktol Company of America Swagelok Company Sylvester Comprehensive Cancer Center (Miami) Tucker Ellis UBS University Hospitals Ver Ploeg & Lumpkin, P.A. (Miami) WCLV Foundation Westlake Reed Leskosky Margaret W. Wong & Assoc. Co., LPA Anonymous (2)

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Baroque orchestra jeannette sorrell

“A vibrant, life-affirming approach to early music.” – BBC MAGAZINE

photo: Sisi Burns

London, New York, Toronto, Los Angeles… and next summer, the BBC Proms.

Apollo’s Fire plays to soldout houses around the world.

But what we love most is “touring” the neighborhoods of Northeast Ohio.

Join us this fall – IN A NEIGHBORHOOD NEAR YOU! OCT 9-12 OCT 31 - NOV 7 DEC 3 & 7 DEC 11-15

Bach’s Birthday Party, Pt. I: Orchestral Fireworks The Monteverdi Vespers of 1610 Sacrum Mysterium: A Celtic Christmas Vespers Handel’s Messiah

TICKETS & INFO: 800.314.2535 | www.apollosfire.org

THE CLEVELAN D ORCHESTRA

Foundation & Government Support The Cleveland Orchestra gratefully acknowledges and salutes these Foundations and Government agencies for their generous support toward the Orchestra’s Annual Fund, benefit events, tours and residencies, and special projects.

Cumulative Giving

JOHN L. SEVERANCE SOCIETY $10 MILLION AND MORE

The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts & Culture Kulas Foundation Maltz Family Foundation State of Ohio Ohio Arts Council The Kelvin and Eleanor Smith Foundation $5 MILLION TO $10 MILLION

Annual Support

gifts of $2,000 or more during the past year, as of September 20, 2014 $1 MILLION AND MORE

The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts & Culture The Andrew W. Mellon Foundation The Kelvin and Eleanor Smith Foundation $500,000 TO $999,999

The George Gund Foundation $250,000 TO $499,999

Kulas Foundation John P. Murphy Foundation The Eric & Jane Nord Family Fund Ohio Arts Council $100,000 TO $249,999

The George Gund Foundation Knight Foundation (Cleveland, Miami) The Andrew W. Mellon Foundation John P. Murphy Foundation

The George W. Codrington Charitable Foundation GAR Foundation Elizabeth Ring Mather and William Gwinn Mather Fund David and Inez Myers Foundation

$1 MILLION TO $5 MILLION

$50,000 TO $99,999

The William Bingham Foundation The George W. Codrington Charitable Foundation GAR Foundation Ann and Gordon Getty Foundation The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation Elizabeth Ring Mather and William Gwinn Mather Fund David and Inez Myers Foundation National Endowment for the Arts The Eric & Jane Nord Family Fund The Payne Fund The Reinberger Foundation The Sage Cleveland Foundation The John L. Severance Society recognizes the generosity of those giving $1 million or more in cumulative giving.

Listing as of September 2014.

Severance Hall 2014-15

Ann and Gordon Getty Foundation The William Randolph Hearst Foundation Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation Marlboro 2465 Foundation Miami-Dade County Department of Cultural Affairs (Miami) The Nord Family Foundation The Payne Fund The Sage Cleveland Foundation Surdna Foundation $20,000 TO $49,999 Paul M. Angell Family Foundation The Batchelor Foundation, Inc. (Miami) The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation Mary and Dr. George L. Demetros Charitable Trust The Gerhard Foundation, Inc. The Helen Wade Greene Charitable Trust John S. and James L. Knight Foundation The Margaret Clark Morgan Foundation National Endowment for the Arts The Frederick and Julia Nonneman Foundation William J. and Dorothy K. O’Neill Foundation Peacock Foundation, Inc. (Miami) Polsky Fund of Akron Community Foundation The Reinberger Foundation The Sisler McFawn Foundation

$2,000 TO $19,999 The Abington Foundation Ayco Charitable Foundation The Ruth and Elmer Babin Foundation Dr. NE & JZ Berman Foundation The Bernheimer Family Fund of the Cleveland Foundation Eva L. and Joseph M. Bruening Foundation The Conway Family Foundation The Fogelson Foundation The Harry K. Fox and Emma R. Fox Charitable Foundation Funding Arts Network (Miami) The Hankins Foundation The Muna & Basem Hishmeh Foundation Richard H. Holzer Memorial Foundation The Laub Foundation Victor C. Laughlin, M.D. Memorial Foundation Trust The G. R. Lincoln Family Foundation The Mandel Foundation The McGregor Foundation Bessie Benner Metzenbaum Foundation The M. G. O’Neil Foundation Paintstone Foundation The Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation SCH Foundation Albert G. & Olive H. Schlink Foundation Jean C. Schroeder Foundation Kenneth W. Scott Foundation The Sherwick Fund Lloyd L. and Louise K. Smith Memorial Foundation The South Waite Foundation The Veale Foundation The George Garretson Wade Charitable Trust The S. K. Wellman Foundation The Welty Family Foundation Thomas H. White Foundation, a KeyBank Trust The Edward and Ruth Wilkof Foundation The Wuliger Foundation Anonymous (2)

Foundation and Government Annual Support

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THE CLEVELAN D ORCHESTRA

Individual Annual Support The Cleveland Orchestra gratefully recognizes the individuals listed here, who have provided generous gifts of cash or pledges of $2,500 or more to the Annual Fund, benefit events, tours and residencies, and special annual donations.

Lifetime Giving

Giving Societies

$10 MILLION AND MORE

In celebration of the critical role individuals play in supporting The Cleveland Orchestra each year, donors of $2,500 and more are recognized as members of a group of special Leadership Giving Societies. These societies are named to honor important and inspirational leaders in the Orchestra’s history. ��The Adella Prentiss Hughes Society honors the Orchestra’s founder and first manager, who from 1918 envisioned an ensemble dedicated to community service, music education, and performing excellence.

The George Szell Society is named after the Orchestra’s fourth music director, who served for twenty-four seasons (1946-70) while refining the ensemble’s international reputation for clarity of sound and unsurpassed musical excellence.

The Elisabeth DeWitt Severance Society honors not only the woman in whose memory Severance Hall was built, but her selfless sharing, including her insistence on nurturing an orchestra not just for the wealthy but for everyone.

The Dudley S. Blossom Society honors one of the Orchestra’s early and most generous benefactors, whose dedication and charm rallied thousands to support and nurture a hometown orchestra toward greatness.

The Frank H. Ginn Society honors the man whose judicious management of Severance Hall’s finances and construction created a beautiful and welcoming home for Cleveland’s Orchestra.

The 1929 Society honors the vibrant community spirit that propelled 3,000 volunteers and donors to raise over $2 million in a nine-day campaign in April 1929 to meet and match John and Elisabeth Severance’s challenge gift toward the building of the Orchestra’s new concert hall.

JOHN L. SEVERANCE SOCIETY Daniel R. and Jan R. Lewis (Miami, Cleveland) $5 MILLION TO $10 MILLION

Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Alexander M. Cutler Mrs. Norma Lerner and The Lerner Foundation Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. Albert B. Ratner $1 MILLION TO $5 MILLION

Irma and Norman Braman (Miami) Mr. Francis J. Callahan* Mrs. M. Roger Clapp Mr. George Gund III* Francie and David Horvitz (Miami) Mr. and Mrs. Michael J. Horvitz Mr. James D. Ireland III The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Dennis W. LaBarre Susan Miller (Miami) Sally S.* and John C. Morley The Family of D. Z. Norton The Honorable and Mrs. John Doyle Ong Mr. and Mrs. Alfred M. Rankin, Jr. Charles and Ilana Horowitz Ratner James and Donna Reid Barbara S. Robinson The Ralph and Luci Schey Foundation Mr.* and Mrs. Ward Smith Anonymous (2)

The John L. Severance Society is named to honor the philanthropist and business leader who dedicated his life and fortune to creating The Cleveland Orchestra’s home concert hall, which stands today as an emblem of unrivalled quality and community pride.

Lifetime giving listing as of September 2014.

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gifts during the past year, as of September 20, 2014

Individual Annual Support

The Cleveland Orchestra

Adella Prentiss Hughes Society gifts of $100,000 and more INDIVIDUAL GIFTS OF $500,000 AND MORE

Daniel R. and Jan R. Lewis (Miami) Mr. and Mrs. Albert B. Ratner INDIVIDUAL GIFTS OF $200,000 TO $499,999

Irma and Norman Braman (Miami) The Walter and Jean Kalberer Foundation Mrs. Norma Lerner and The Lerner Foundation Peter B. Lewis* and Janet Rosel Lewis (Miami) Susan Miller (Miami) INDIVIDUAL GIFTS OF $100,000 TO $199,999

David and Francie Horvitz Family Foundation (Miami) James D. Ireland III Mr. and Mrs. Joseph P. Keithley Dr. and Mrs. Herbert Kloiber (Europe) Mrs. Emma S. Lincoln Elizabeth F. McBride Ms. Ginger Warner (Cleveland, Miami) Janet* and Richard Yulman (Miami)

George Szell Society gifts of $50,000 and more INDIVIDUAL GIFTS OF $75,000 TO $99,999

Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Alexander M. Cutler Dr. Wolfgang Eder Dr. and Mrs. Hiroyuki Fujita Elizabeth B. Juliano (Cleveland, Miami) Mr. and Mrs. Douglas A. Kern Mr. and Mrs. Dennis W. LaBarre Ms. Beth E. Mooney The Honorable and Mrs. John Doyle Ong Mr. Patrick Park (Miami) Mr. and Mrs. Alfred M. Rankin, Jr. Mary M. Spencer (Miami) Mr. and Mrs. Franz Welser-MĂśst INDIVIDUAL GIFTS OF $50,000 TO $74,999

Sheldon and Florence Anderson (Miami) Mr. William P. Blair III Blossom Womenâ&#x20AC;&#x2122;s Committee Jeanette Grasselli Brown and Glenn R. Brown Hector D. Fortun (Miami) Mrs. John A. Hadden, Jr. Mr. and Mrs. Michael J. Horvitz

Severance Hall 2014-15

Leadership Council The Leadership Council salutes those extraordinary donors who have pledged to sustain their annual giving at the highest level for three years or more. Leadership Council donors are recognized in these Annual Support listings with the Leadership Council symbol next to their name:

R. Kirk Landon and Pamela Garrison (Miami) Giuliana C. and John D. Koch Toby Devan Lewis Mr. and Mrs. Edward A. Lozick Robert M. Maloney and Laura Goyanes Milton and Tamar Maltz Ms. Nancy W. McCann Margaret Fulton-Mueller Mrs. Alfred M. Rankin, Sr. Charles and Ilana Horowitz Ratner James and Donna Reid Barbara S. Robinson Sally and Larry Sears Hewitt and Paula Shaw Mr. and Mrs. Richard K. Smucker Barbara and David Wolfort Anonymous

Elisabeth DeWitt Severance Society gifts of $25,000 and more INDIVIDUAL GIFTS OF $30,000 TO $49,999

Mr. and Mrs. Daniel M. Bell (Miami) Dr. and Mrs. Wolfgang Berndt (Europe) Mr. and Mrs. Charles P. Bolton The Brown and Kunze Foundation Judith and George W. Diehl Mr. and Mrs. Geoffrey Gund T. K. and Faye A. Heston Trevor and Jennie Jones Milton A. and Charlotte R. Kramer Charitable Foundation Virginia M. and Jon A. Lindseth Sally S.* and John C. Morley Mrs. Jane B. Nord The Claudia and Steven Perles Family Foundation (Miami) Luci and Ralph* Schey Rachel R. Schneider Richard and Nancy Sneed (Cleveland, Miami) R. Thomas and Meg Harris Stanton

Individual Annual Support

listings continue

77

THE CLEVELAN D ORCHESTRA listings continued INDIVIDUAL GIFTS OF $25,000 TO $29,999

In dedication to Donald Carlin (Miami) Martha and Bruce Clinton (Miami) Robert and Jean* Conrad Mr. and Mrs. Gerald A. Conway Do Unto Others Trust (Miami) George* and Becky Dunn JoAnn and Robert Glick Gary Hanson and Barbara Klante Mr. and Mrs. Jeffrey Healy Mrs. Marguerite B. Humphrey Junior Committee of The Cleveland Orchestra Dr. David and Janice Leshner William J. and Katherine T. O’Neill Julia and Larry Pollock Mr. and Mrs. James A. Ratner Mr. and Mrs. James A. Saks Paul and Suzanne Westlake Women’s Committee of The Cleveland Orchestra

Dudley S. Blossom Society gifts of $15,000 and more INDIVIDUAL GIFTS OF $20,000 TO $24,999

Gay Cull Addicott Mr. and Mrs. William W. Baker Randall and Virginia Barbato Mr. and Mrs. Matthew V. Crawford Jeffrey and Susan Feldman (Miami) Dr. Edward S. Godleski Andrew and Judy Green

Leadership

PATRON PROGRAM

Barbara Robinson, chair Robert Gudbranson, vice chair Gay Cull Addicott William W. Baker Ronald H. Bell Henry C. Doll Judy Ernest Nicki Gudbranson Jack Harley

Iris Harvie Faye A. Heston Brinton L. Hyde Randall N. Huff David C. Lamb Raymond T. Saw yer

INDIVIDUAL GIFTS OF $15,000 TO $19,999

Art of Beauty Company, Inc. Marsha and Brian Bilzin (Miami) Mr. and Mrs. Richard L. Bowen Dr. Christopher P. Brandt and Dr. Beth Sersig Mr. and Mrs. David J. Carpenter Scott Chaikin and Mary Beth Cooper Jill and Paul Clark Mr. and Mrs. William E. Conway Mr. Peter and Mrs. Julie Cummings (Miami) Colleen and Richard Fain (Miami) Mr. Allen H. Ford Richard and Ann Gridley Jack Harley and Judy Ernest Mary and Jon Heider (Cleveland, Miami) David and Nancy Hooker Mr. and Mrs. Donald M. Jack, Jr. Andrew and Katherine Kartalis Tati and Ezra Katz (Miami) Mr.* and Mrs. Arch J. McCartney Mr. Thomas F. McKee Mr. and Mrs. Stanley A. Meisel Lucia S. Nash Mr. Gary A. Oatey (Cleveland, Miami) Steven and Ellen Ross Mr. and Mrs. David A. Ruckman Mrs. David Seidenfeld David and Harriet Simon Rick, Margarita and Steven Tonkinson (Miami) Mr. and Mrs. Daniel P. Walsh Mr. and Mrs. Jeffrey M. Weiss Anonymous

Frank H. Ginn Society gifts of $10,000 and more

The Leadership Patron Program recognizes generous donors of $2,500 or more to the Orchestra’s Annual Campaign. For more information on the benefits of playing a supporting role each year, please contact Elizabeth Arnett, Manager, Leadership Giving, by calling 216-231-7522.

78

Richard and Erica Horvitz (Cleveland, Miami) Mr. and Mrs. Christopher Kelly Jonathan and Tina Kislak (Miami) Joy P. and Thomas G. Murdough, Jr. (Miami) Marc and Rennie Saltzberg Mr. and Mrs. Donald Stelling (Europe) Mr. Joseph F. Tetlak Tom and Shirley Waltermire Mr. Gary L. Wasserman and Mr. Charles A. Kashner (Miami) The Denise G. and Norman E. Wells, Jr. Family Foundation Anonymous gift from Switzerland (Europe)

INDIVIDUAL GIFTS OF $12,500 TO $14,999

Mrs. Barbara Ann Davis Ms. Dawn M. Full Robert K. Gudbranson and Joon-Li Kim Sondra and Steve Hardis Tim and Linda Koelz Mr.* and Mrs. Richard A. Manuel Mr. and Mrs. Oliver E. Seikel Kim Sherwin Mr. and Mrs. Alfred Umdasch (Europe)

Individual Annual Support

listings continue

The Cleveland Orchestra

Is she happy? Is he healthy? 10 fingers and 10 toes?

Does she cry too much? Or not enough? Is something in his nose?

Is he too big? Too small? Just right? Need more protein at meals?

Peanut butter? Maybe later? Should she eat apples with peels?

Lose the binky? Lose the diaper? Time to potty train?

Is he babbling enough? What are the best books for his brain?

Should I help him be more social? Does she need more playmates?

Do we give him too many toys? Is it bad he only plays with crates?

When’s a good bedtime? How many hours? Should we limit his naps?

Does she fall too much? Have too many scabs? What can I put on this rash?

Should he be reading? Should he be writing? Doing long division?

Am I a bad parent that when I’m tired I plop him in front of the television?

Is she too pale? Too tan? Too red? What SPF sunscreen?

How can I firmly tell her no without her telling me I’m mean?

Is she gifted? Is she stunted? Do kids ever get depressed?

Why does he take half hour showers? Is this how a kid should dress?

What happened to my little girl, who used to be so nice?

Is this mono? Is he just tired? Is this dandruff? Is this lice?

Just how long does puberty last? Can’t we speed this up?

Or make it stop? Or make it easy? Should she be wearing all this makeup?

216-UH4-KIDS

216-844-5437

OnlyOneRainbow.org

THE CLEVELAN D ORCHESTRA listings continued INDIVIDUAL GIFTS OF $10,000 TO $12,499

Mr. and Mrs. George N. Aronoff Jayusia and Alan Bernstein (Miami) Laurel Blossom Mr. D. McGregor Brandt, Jr. Paul and Marilyn* Brentlinger J. C. and Helen Rankin Butler Richard J. and Joanne Clark Mrs. Barbara Cook Nancy and Richard Dotson Mr. and Mrs. Robert P. Duvin Ms. Mary Jo Eaton (Miami) Mike S. and Margaret Eidson (Miami) Dr. and Mrs. Lloyd H. Ellis Jr. Mr. Brian L. Ewart and Mr. William McHenry Mr. and Mrs. Miguel G. Farra (Miami) Mr. Neil Flanzraich (Miami) Mr. Monte Friedkin (Miami) Francisco A. Garcia and Elizabeth Pearson (Miami) Mr. and Mrs. Richard T. Garrett Albert I. and Norma C. Geller

Mr. and Mrs. Robert W. Gillespie Mr. David J. Golden Kathleen E. Hancock Michael L. Hardy Mary Jane Hartwell Iris and Tom Harvie Mr. and Mrs. James A. Haslam II Mr. and Mrs. James A. Haslam III Joan and Leonard Horvitz Mark and Ruth Houck (Miami) Pamela and Scott Isquick Allan V. Johnson Janet and Gerald Kelfer (Miami) Mrs. Elizabeth R. Koch Mr. and Mrs. Stewart A. Kohl Mr. Thomas Lauria (Miami) Mr. Jeff Litwiller Mr. and Mrs.* Robert P. Madison Mr. and Mrs. Thomas B. McGowan Edith and Ted* Miller Mr. Donald W. Morrison Brian and Cindy Murphy Mr. Raymond M. Murphy

Mr. and Mrs. William M. Osborne, Jr. Brian and Patricia Ratner Audra and George Rose Dr. and Mrs. Ronald J. Ross Dr. Isobel Rutherford Mr. Larry J. Santon Raymond T. and Katherine S. Sawyer Carol* and Albert Schupp Dr. Gerard and Phyllis Seltzer and the Dr. Gerard and Phyllis Estelle Seltzer Foundation Jim and Myrna Spira Howard Stark M.D. and Rene Rodriguez (Miami) Lois and Tom Stauffer Charles B. and Rosalyn Stuzin (Miami) Mrs. Jean H. Taber Bruce and Virginia Taylor Joe and Marlene Toot Dr. Russell A. Trusso Sandy and Ted Wiese Anonymous (4)*

The 1929 Society gifts of $2,500 to $9,999 INDIVIDUAL GIFTS OF $7,500 TO $9,999

Mr. and Mrs. Dean Barry Robert and Alyssa Lenhoff-Briggs Dr.* and Mrs. Jerald S. Brodkey Dr. Ben H. and Julia Brouhard Ellen E. & Victor J. Cohn Supporting Foundation Henry and Mary Doll Harry and Joyce Graham Mr. Paul Greig Mrs. Sandra L. Haslinger Henry R. Hatch Robin Hitchcock Hatch

Amy and Stephen Hoffman Joela Jones and Richard Weiss Mr. and Mrs.* S. Lee Kohrman Kenneth M. Lapine and Rose E. Mills Judith and Morton Q. Levin Mr. and Mrs. Alex Machaskee Claudia Metz and Thomas Woodworth Mr. J. William and Dr. Suzanne Palmer Pannonius Foundation Douglas and Noreen Powers Paul A. and Anastacia L. Rose Rosskamm Family Trust

Patricia J. Sawvel Drs. Daniel and Ximena Sessler Bill* and Marjorie B. Shorrock Naomi G. and Edwin Z. Singer Family Fund Mrs. Gretchen D. Smith Dr. and Mrs. Frank J. Staub Mr. and Mrs. Donald W. Strang, Jr. Dr. Gregory Videtic Anonymous

Mr. and Mrs. Thomas S. Davis Pete and Margaret Dobbins Mr. and Mrs. Paul Doman Dr. and Mrs. Robert Elston Mary and Oliver Emerson Barbara and Peter Galvin Joy E. Garapic Brenda and David Goldberg Mr. and Mrs. Henry J. Goodman Patti Gordon (Miami) Mr. and Mrs. Randall J. Gordon Robert N. and Nicki N. Gudbranson David and Robin Gunning Clark Harvey and Holly Selvaggi Barbara Hawley and David Goodman Janet D. Heil* Anita and William Heller Dr. Fred A. Heupler Thomas and Mary Holmes Mr. and Mrs. John Hudak (Miami) Bob and Edith Hudson (Miami) Ms. Carole Hughes Mr. and Mrs. Brinton L. Hyde

Mr. and Mrs. Christopher Hyland Donna L. and Robert H. Jackson Ms. Elizabeth James Mr. and Mrs. Richard A. Janus Rudolf D. and Joan T. Kamper Milton and Donna* Katz Dr. Richard and Roberta Katzman Dr. and Mrs. William S. Kiser Cynthia Knight (Miami) Mrs. Justin Krent Mr. and Mrs. Peter A. Kuhn Mr. and Mrs. Arthur J. Lafave, Jr. Mr. Brian J. Lamb David C. Lamb Anthony T. and Patricia A. Lauria Mr. Lawrence B. and Christine H. Levey Mr. Dylan Hale Lewis (Miami) Ms. Marley Blue Lewis (Miami) Dr. Alan and Mrs. Joni Lichtin Mr. Jon E. Limbacher and Patricia J. Limbacher Elsie and Byron Lutman

INDIVIDUAL GIFTS OF $5,000 TO $7,499

Mr.* and Mrs. Albert A. Augustus Mr. and Mrs. Robert H. Baker Stephen Barrow and Janis Manley (Miami) Fred G. and Mary W. Behm Drs. Nathan A. and Sosamma J. Berger Mr. William Berger Dr. and Mrs. Eugene H. Blackstone Mr. and Mrs. David Briggs Mr. and Mrs. Robert R. Broadbent Frank and Leslie Buck Mr. and Mrs. William C. Butler Ms. Maria Cashy Drs. Wuu-Shung and Amy Chuang Dr. William and Dottie Clark Kathleen A. Coleman Diane Lynn Collier and Robert J Gura Mr. Owen Colligan Marjorie Dickard Comella Corinne L. Dodero Foundation for the Arts and Sciences Mr. and Mrs. Ralph Daugstrup Mr. and Mrs. Edward B. Davis

80

Individual Annual Support

listings continue

The Cleveland Orchestra

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Severance Hall 2014-15

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81

THE CLEVELAN D ORCHESTRA listings continued INDIVIDUAL GIFTS OF $5,000 TO $7,499 CONTINUED

Ms. Jennifer R. Malkin Mr. and Mrs. Morton L. Mandel Alan Markowitz M.D. and Cathy Pollard Ms. Maureen M. McLaughlin (Miami) James and Virginia Meil Drs. Terry E. and Sara S. Miller David and Leslee Miraldi Mr. and Mrs. William A. Mitchell Curt and Sara Moll Ann Jones Morgan Richard and Kathleen Nord Mr. Henry Ott-Hansen Ms. MacGregor W. Peck Nan and Bob Pfeifer Mr. and Mrs. Richard W. Pogue In memory of Henry Pollak Dr. and Mrs. John N. Posch William and Gwen Preucil Lois S. and Stanley M. Proctor* Mr. and Mrs. Thomas A. Quintrell

Drs. Raymond R. Rackley and Carmen M. Fonseca Mr. and Mrs. Roger F. Rankin Ms. Deborah Read Amy and Ken Rogat Mr. and Mrs. Robert C. Ruhl Mrs. Florence Brewster Rutter Drs. Michael and Judith Samuels (Miami) Bob and Ellie Scheuer David M. and Betty Schneider Linda B. Schneider Dr. and Mrs. James L. Sechler Lee and Jane Seidman Charles Seitz (Miami) Mr. Eric Sellen and Mr. Ron Seidman Mrs. Frances G. Shoolroy David Kane Smith Dr. Marvin and Mimi Sobel George and Mary Stark Stroud Family Trust

Dr. Elizabeth Swenson Ms. Lorraine S. Szabo Mr. and Mrs. Paul A. Teel, Jr. Mr. and Mrs. Bill Thornton Mr.* and Mrs. Robert N. Trombly Robert and Marti Vagi Don and Mary Louise Van Dyke Bill Appert and Chris Wallace (Miami) Mr. and Mrs. Fred A. Watkins Robert C. Weppler Tom and Betsy Wheeler Nancy V. and Robert L. Wilcox Sandy Wile and Susan Namen Dr. and Mr. Ann Williams Anonymous (6)

Mr. Robert T. Hexter Dr.* and Mrs. George H. Hoke Mr. David and Mrs. Dianne Hunt Dr. and Mrs. Scott R. Inkley Robert and Linda Jenkins Barbara and Michael J. Kaplan Dr. and Mrs. Richard S. Kaufman James and Gay* Kitson Mrs. Natalie D. Kittredge Dr. Gilles and Mrs. Malvina Klopman Mr. and Ms. James Koenig Mr. James Krohngold Ronald and Barbara Leirvik Mr. and Mrs. Irvin A. Leonard Anne R. and Kenneth E. Love Robert and LaVerne* Lugibihl Joel and Mary Ann Makee Herbert L. and Rhonda Marcus Martin and Lois Marcus William and Eleanor* McCoy Dr. Susan M. Merzweiler Bert and Marjorie Moyar Richard B. and Jane E. Nash Mr. and Mrs. Peter R. Osenar Dr. Lewis and Janice B. Patterson

Mr. Robert S. Perry Mr. and Mrs. John S. Piety Dr. Robert W. Reynolds Michael Forde Ripich Mrs. Charles Ritchie Carol Rolf and Steven Adler Dr. Lori Rusterholtz Dr. and Mrs. Martin I. Saltzman Mr. Paul H. Scarbrough Ginger and Larry Shane Harry and Ilene Shapiro Mr. Richard Shirey Howard and Beth Simon Mr. and Mrs. William E. Spatz Mr. Taras G. Szmagala, Jr. Mr. Karl and Mrs. Carol Theil Drs. Anna* and Gilbert True Miss Kathleen Turner Mr. and Mrs. Mark Allen Weigand Richard Wiedemer, Jr. Tony and Diane Wynshaw-Boris Marcia and Fred* Zakrajsek

Bill* and Zeda Blau Doug and Barbara Bletcher Mr. and Mrs. Richard H. Bole John and Anne Bourassa Mr. and Mrs. Marshall Brown Laurie Burman Mr. Adam Carlin (Miami) Leigh Carter Mr. and Mrs. James B. Chaney Dr. and Mrs. Ronald Chapnick Dr. Christopher and Mrs. Maryanne Chengelis Ms. Mary E. Chilcote Mr. and Mrs. Homer D. W. Chisholm Daniel D. Clark and Janet A. Long Kenneth S. and Deborah G. Cohen

Mr. and Mrs. Stanley Cohen (Miami) Dr. and Mrs. Delos M. Cosgrove III Dr. Dale and Susan Cowan Mr. and Mrs. Manohar Daga Mrs. Frederick F. Dannemiller Charles and Fanny Dascal (Miami) Jeffrey and Eileen Davis Mrs. Lois Joan Davis Mr. and Mrs. David G. de Roulet Dr. and Mrs. Richard C. Distad William Dorsky and Cornelia Hodgson Esther L. and Alfred M. Eich, Jr. Harry and Ann Farmer Ms. Karen Feth Mr. Isaac Fisher Joan Alice Ford

INDIVIDUAL GIFTS OF $3,500 TO $4,999

Dr. Jacqueline Acho and Mr. John LeMay Ms. Nancy A. Adams Dr. and Mrs. D. P. Agamanolis Susan S. Angell Mr. and Mrs. Jules Belkin Dr. Ronald and Diane Bell Howard R. and Barbara Kaye Besser Suzanne and Jim Blaser Lisa and Ron Boyko Mr. and Mrs. Henry G. Brownell Ms. Mary R. Bynum and Mr. J. Philip Calabrese Dr. and Mrs. William E. Cappaert Mr. and Mrs. Frank H. Carpenter Mr.* and Mrs. Robert A. Clark Thomas and Dianne Coscarelli Ms. Maureen A. Doerner and Mr. Geoffrey T. White Peter and Kathryn Eloff Mr. and Mrs. John R. Fraylick Peggy and David* Fullmer Dr. and Mrs. Ronald L. Gould Nancy and James Grunzweig Mr. Robert D. Hart Hazel Helgesen* and Gary D. Helgesen INDIVIDUAL GIFTS OF $2,500 TO $3,499

Mr. and Mrs. Charles Abookire, Jr. Stanley I. and Hope S. Adelstein Mr. and Mrs. Norman Adler Mr. and Mrs. Monte Ahuja Mr. and Mrs. Robert J. Amsdell Dr. Mayda Arias Mr. and Mrs. James B. Aronoff Geraldine and Joseph Babin Ms. Jennifer Barlament Ms. Delphine Barrett Rich Bedell and Elizabeth Grove Mr. Roger G. Berk Kerrin and Peter Bermont (Miami) Barbara and Sheldon Berns Margo and Tom Bertin Carmen Bishopric (Miami)

listings continue

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Individual Annual Support

The Cleveland Orchestra

Live Publishing provides comprehensive communications and marketing services to a who’s who roster of clients, including the world-renowned Cleveland Orchestra. Our unsurpassed client satisfaction is built on decades of hard-earned experience, in all the various aspects of magazine publishing and custom marketing communications. We know how to deliver the most meaningful messages in the most effective media, all in the most cost-effective manner. We’re easy to do business with, and our experienced crew has handled every kind of project – from large to small, print to web.

S E A S O N

PRESENTING THE FINEST

FALL SEASON

2014-15 Concert Season

cim@Severance

F R ANZ WELSER-MÖST M U SIC DI R ECTOR

HOLIDAY FESTIVAL

2013

SEVERANCE HALL

2014-15 concert SerieS

cim.edu visit our website for up to date concert information, as well as to learn about our academic programs.

THE CLEVELAND ORCHESTRA

Natalie Cole December 11

Cleveland Orchestra Christmas Concerts

AUGUST 2014

socialize

December 13-22

Home Alone December 18

Like, friend and follow us on your social media platforms of choice.

SUMatSEV_2014_TOPRINT.indd 1

7/29/14 11:27 AM

216.791.5000 | cim.edu 11021 east Boulevard | cleveland, oH 44106

2O14

BLOSSOM MUSIC FESTIVAL S U M M E R

H O M E

O F

THE CLEVELAND ORCHESTRA

Your Guide to: the the the 2O14 the

Festival Book BF14-Festival-Book-v11.indd 1

orchestra facilities concerts people

cl eve l a n d o r c h e s t r a .c o m

6/23/2014 7:57:39 PM

2026 Murray Hill Road, Suite 103, Cleveland, Ohio 44106 216.721.1800 email: info@livepub.com web: livepub.com

THE CLEVELAN D ORCHESTRA listings continued INDIVIDUAL GIFTS OF $2,500 TO $3,499 CONTINUED

Mr. Paul C. Forsgren Marvin Ross Friedman and Adrienne bon Haes (Miami) Arthur L. Fullmer Mr. Bennett Gaines Mrs. Georgia T. Garner Loren and Michael Garruto Mr. Wilbert C. Geiss, Sr. Dr. and Mrs. Edward C. Gelber (Miami) Anne and Walter Ginn Mr. and Mrs. David A. Goldfinger The Thomas J. and Judith Fay Gruber Charitable Foundation Dr. Phillip M. and Mrs. Mary Hall Mr. and Mrs. David P. Handke, Jr. Norman C. and Donna L. Harbert Mr. and Mrs. Donald F. Hastings Dr. Robert T. Heath and Dr. Elizabeth L. Buchanan Sally and Oliver Henkel Mr. and Mrs. Jerry Herschman Dr. and Mrs. Robert L. Hinnes Dr. Keith A. and Mrs. Kathleen M. Hoover Dr. Randal N. Huff and Ms. Paulette Beech Ruth F. Ihde Mrs. Carol Lee and Mr. James Iott Richard and Michelle Jeschelnig Dr. Michael and Mrs. Deborah Joyce Rev. William C. Keene Angela Kelsey and Michael Zealy (Miami) Bruce and Eleanor Kendrick Fred and Judith Klotzman Jacqueline and Irwin Kott (Miami) Dr. Ronald H. Krasney and Vicki Kennedy Marcia Kraus Mr. Donald N. Krosin Eeva and Harri Kulovaara (Miami) Mr. and Mrs. S. Ernest Kulp Mrs. Carolyn Lampl Ivonete Leite (Miami) Michael and Lois A. Lemr Dr. Edith Lerner Dr. Stephen B. and Mrs. Lillian S. Levine Robert G. Levy Mr. Rudolf and Mrs. Eva Linnebach Ms. Mary Beth Loud Michael J. and Kathryn T. Lucak Mr. and Mrs. Raul Marmol (Miami) Dr. and Mrs. Sanford E. Marovitz Dr. Ernest and Mrs. Marian Marsolais Ms. Amanda Martinsek Mr. Julien L. McCall Ms. Nancy L. Meacham Mr. James E. Menger Stephen and Barbara Messner Ms. Betteann Meyerson Mr. and Mrs. Roger Michelson (Miami)

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Ms. Carla Miraldi Susan B. Murphy Dieter and Bonnie Myers Joan Katz Napoli and August Napoli David and Judith Newell Mr. Carlos Noble (Miami) Marshall I. Nurenberg and Joanne Klein Richard and Jolene O’Callaghan Mr. Thury O’Connor Harvey and Robin Oppmann Nedra and Mark Oren (Miami) Mr. and Mrs. Robert D. Paddock Mr. and Mrs. Christopher I. Page Mr. Dale Papajcik Deborah and Zachary Paris Mr. Thomas and Mrs. Tommie Patton Dr. Roland S. Philip and Dr. Linda M. Sandhaus Ms. Maribel Piza (Miami) Dr. Marc and Mrs. Carol Pohl Ms. Carolyn Priemer Mr. Lute and Mrs. Lynn Quintrell Dr. James and Lynne Rambasek Ms. C. A. Reagan Alfonso Conrado Rey (Miami) David and Gloria Richards Mr. Timothy D. Robson Robert and Margo Roth Dr. Harry S. and Rita K. Rzepka Bunnie Sachs Family Foundation Dr. Vernon E. Sackman and Ms. Marguerite Patton Father Robert J. Sanson Ms. Patricia E. Say Mr. James Schutte Ms. Adrian L. Scott Dr. John Sedor and Ms. Geralyn Presti Ms. Kathryn Seider Mr. and Mrs. Thomas W. Seitz Donna E. Shalala (Miami) Ms. Marlene Sharak Norine W. Sharp Dr. and Mrs. William C. Sheldon Mr. and Mrs. Reginald Shiverick Laura and Alvin A. Siegal Robert and Barbara Slanina Ms. Donna-Rae Smith Sandra and Richey Smith Mr. and Mrs.* Jeffrey H. Smythe Mrs. Virginia Snapp Ms. Barbara Snyder Lucy and Dan Sondles Michalis and Alejandra Stavrinides (Miami) Mr. Joseph Stroud Ken and Martha Taylor Dr. and Mrs. Thomas A. Timko Steve and Christa Turnbull Mrs. H. Lansing Vail, Jr.

Individual Annual Support

Mr. and Mrs. Roger Vail Robert A. Valente George and Barbara Von Mehren Brenton Ver Ploeg (Miami) Mr. and Mrs. Joaquin Vinas (Miami) Mr. and Mrs. Les C. Vinney Dr. Michael Vogelbaum and Mrs. Judith Rosman Philip and Peggy Wasserstrom Eric* and Margaret Wayne Alice & Leslie T. Webster, Jr. Mr. and Mrs. Jerome A. Weinberger Florence and Robert Werner (Miami) Richard and Mary Lynn Wills Michael H. Wolf and Antonia Rivas-Wolf Katie and Donald Woodcock Elizabeth B. Wright Rad and Patty Yates Mrs. Jayne M. Zborowsky Dr. William Zelei Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (3) *

member of the Leadership Council (see page 77)

* deceased

THE

CLEVELAND ORCHESTRA

The Cleveland Orchestra is sustained through the support of thousands of generous patrons, including members of the Leadership Patron Program listed on these pages. Listings of all annual donors of $300 and more each year are published in the Orchestra’s Annual Report, which can be viewed online at CLEVELANDORCHESTRA . COM For information about how you can play a supporting role with The Cleveland Orchestra, please contact our Philanthropy & Advancement Office by calling 216-231-7558.

The Cleveland Orchestra

Your Role . . . in The Cleveland Orchestra’s Future Generations of Clevelanders have supported the Orchestra and enjoyed its concerts. Tens of thousands have learned to love music through its education programs, celebrated important events with its music, and shared in its musicmaking — at school, at Severance Hall, at Blossom, downtown at Public Square, on the radio, and with family and friends.

Ticket sales cover less than half the cost of presenting The Cleveland Orchestra’s season each year. To sustain its activities here in Northeast Ohio, the Orchestra has undertaken the most ambitious fundraising campaign in our history: the Sound for the Centennial Campaign. By making a donation, you can make a crucial difference in helping to ensure that future generations will continue to enjoy the Orchestra’s performances, education programs, and community activities and partnerships. To make a gift to The Cleveland Orchestra, please visit us online, or call 216-231-7562.

clevelandorchestra.com

T H E C leveland O r chest r a R E C O R D I N G S great gift ideas

Critics from around the world have acclaimed the partnership of Franz Welser-Möst and The Cleveland Orchestra, and their recorded legacy continues to grow.

Their newest DVD features Bruckner’s Fourth Symphony recorded live in the Abbey of St. Florian in Linz, Austria in 2012. “A great orch­ estra, a Bruckner expert. . . . Five out of five stars,” declared Austria’s Kurier newspaper.

Dvořák’s opera Rusalka on CD, recorded live at the Salzburg Festival, elicited the reviewer for London’s Sunday Times to praise the perform­ance as “the most spellbinding account of Dvořák’s miraculous score I have ever heard, either in the theatre or on record. . . . I doubt this music can be better played than by the Clevelanders, the most ‘European’ of the American orchestras, with wind and brass soloists to die for and a string sound of superlative warmth and sensitivity.” Other recordings released in recent years include four acclaimed albums of Mozart piano concertos with Mitsuko Uchida and two under the baton of renowned conductor Pierre Boulez.

Visit the Cleveland Orchestra Store for the latest and best Cleveland Orchestra recordings and DVDs.

THE CLEVELAND ORCHESTRA Franz Welser-Möst M usic D i r ecto r

“The Cleveland Orchestra proved that they are still one of the world’s great musical beasts. With Franz Welser-Möst conducting, this music . . . reverberated in the souls of the audience.”

—Wall Street Journal

—The Guardian (London)

P H OTO BY R O G E R M A S T R O I A N N I

“Cleveland’s reputation as one of the world’s great ensembles is richly deserved.”

11001 Euclid Avenue Cleveland, Ohio 44106

P H OTO BY S T E V E H A L L © H E D R I C H B L E S S I N G

c l e v e l a n d o r c h e s t r a . c om

the world’s most beautiful concert halls, Severance Hall has been home to The Cleveland Orchestra since its opening on February 5, 1931. After that first concert, a Cleveland newspaper editorial stated: “We believe that Mr. Severance intended to build a temple to music, and not a temple to wealth; and we believe it is his intention that all music lovers should be welcome there.” John Long Severance (president of the Musical Arts Association, 1921-1936) and his wife, Elisabeth, donated most of the funds necessary to erect this magnificent building. Designed by Walker & Weeks, its elegant

h ai l e d as on e o f

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Georgian exterior was constructed to harmonize with the classical architecture of other prominent buildings in the University Circle area. The interior of the building reflects a combination of design styles, including Art Deco, Egyptian Revival, Classicism, and Modernism.

An extensive renovation, restoration, and expansion of the facility was completed in January 2000. In addition to serving as the home of The Cleveland Orchestra for concerts and rehearsals, the building is rented by a wide variety of local organizations and private citizens for performances, meetings, and special events each year.

Severance Hall

The Cleveland Orchestra

DONATE YOUR RIDE

Lunch • Dinner • Happy Hours Sushi Bar • Patio 45 Private Parties Chef’s Table Gift Certificates

CAR DONATION PROGRAM

11300 Brookpark Road • Brooklyn, Ohio 44130 216-265-7884 • 800-368-6262 thewayside.org

CALL FOR RESERVATIONS

216.707.4045 TBL45.COM

OR VISIT

9801 CARNEGIE AVENUE, CLEVELAND, OHIO 44106

All proceeds from our Car Donation Program provide opportunities to more than 500 children and adults with developmental disabilities like Scott and Chris, who just moved into their new home!

Breakfast • Lunch • Dinner Cocktails • Desserts Happy Hours • Private Parties Holidays • Celebrations Gift Certificates

WE BELIEVE IN

“…It’s easy and rewarding to support one of the premier institutions in Northeast Ohio.”

CALL FOR RESERVATIONS OR VISIT

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216.707.4054 C2RESTAURANT.COM

8800 EUCLID AVENUE, CLEVELAND, OHIO 44106

Find out more at ideastream.org/support

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Severance Hall 2014-15 Severance.indd 1

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THE CLEVELAND c o n c e r t

c a l e n d a r

F ALL SEAS O N Youth Orchestra

Schumann’s Rhenish Symphony

Sunday November 23 at 8:00 p.m. <18s CLEVELAND ORCHESTRA Youth Orchestra Brett Mitchell, conductor

Thursday October 30 at 7:30 p.m.

Friday October 31 at 11:00 a.m. <18s * Saturday November 1 at 8:00 p.m.

THE CLEVELAND ORCHESTRA Robin Ticciati, conductor Karen Cargill, mezzo-soprano

JOHN ADAMS The Chairman Dances HARRIS Symphony No. 3 TCHAIKOVSKY Symphony No. 4

Hosokawa Meditation * Berlioz Summer Nights [Les Nuits d’été] SCHUMANN Symphony No. 3 (“Rhenish”)

* not part of Friday Morning concert

special presentation

The Nutcracker Thanksgiving Weekend

November 26, 28, 29, 30

Alisa Weilerstein Plays Elgar

at PlayhouseSquare in downtown Cleveland

THE JOFFREY BALLET THE CLEVELAND ORCHESTRA

Thursday November 6 at 7:30 p.m.

Saturday November 8 at 8:00 p.m.

Sunday November 9 at 3:00 p.m. <18s THE CLEVELAND ORCHESTRA Giancarlo Guerrero, conductor Alisa Weilerstein, cello

PÄRT Cantus in Memory of Benjamin Britten ELGAR Cello Concerto john ADAMS Harmonielehre

PNC Musical Rainbow

The Terrific Tuba

Friday November 14 at 10:00 a.m. <18s Saturday November 15 at 10:00 a.m. <18s Saturday November 15 at 11:00 a.m. <18s with Kenneth Heinlein, tuba For children ages 3 to 6. Energetic host Maryann Nagel gets attendees singing, clapping, and moving to the music in this series introducing instruments of the orchestra. With short solo selections, kid-friendly tunes, and sing-along participation.

Sponsor: PNC Bank

San Francisco Symphony

Saturday November 15 at 8:00 p.m.

SAN FRANCISCO SYMPHONY Michael Tilson Thomas, conductor Gil Shaham, violin

LISZT Mephisto Waltz No. 1 MOZART Violin Concerto No. 5 (“Turkish”) SAMUEL ADAMS Drift and Providence RAVEL Suite No. 2, Daphnis and Chloé

Sponsor: PNC Bank

For a complete schedule of future events and performances, or to purchase tickets online 24/ 7 for Cleveland Orchestra concerts, visit www.clevelandorchestra.com.

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Experience this magical holiday show in a spectacular production created by The Joffrey Ballet, featuring brilliant costumes, largerthan-life scenery, breathtaking dancing. For seven performances only.

Sponsor: Dollar Bank

HOLIDAY FESTIVAL

Vienna Boys Choir: Christmas in Vienna

Tuesday December 2 at 7:30 p.m.

Nothing evokes the joy and magic of the Christmas season quite like the celestial voices of these extraordinary Austrian youngsters. The Vienna Boys Choir returns to Severance Hall with a special musical evening for the Yuletide season.

Please note that The Cleveland Orchestra does not appear on this program.

Symphonic Metamorphosis

Thursday December 4 at 7:30 p.m.

Friday December 5 at 7:00 p.m. <18s * Saturday December 6 at 8:00 p.m.

THE CLEVELAND ORCHESTRA Marek Janowski, conductor

BEETHOVEN Symphony No. 1 * HINDEMITH Symphonic Metamorphosis on Themes of Carl Maria von Weber BEETHOVEN Symphony No. 2

* not part of KeyBank Fridays@7 concert Fridays@7 Sponsor: KeyBank

Under 18s Free for Families

<18s

Concerts with this symbol are eligible for "Under 18s Free" ticketing. The Cleveland Orchestra is committed to developing the youngest audience of any orchestra.

Our "Under 18s Free" program offers free tickets for young people attending with families (one per full-price paid adult for concerts marked with the symbol above).

Concert Calendar

The Cleveland Orchestra

ORCHESTRA at the movies Celebrity series

S E A S O N

in

t h e

spo t l ig h t

Disney Fantasia Live in Concert Thursday December 11 at 7:30 p.m.

THE CLEVELAND ORCHESTRA Brett Mitchell, conductor

Experience Disney’s classic Fantasia films as never before, with the music performed live by The Cleveland Orch­ estra — featuring selections from the original Fantasia (1940) and Disney Fantasia 2000.

Sponsor: PNC Bank

HOLIDAY FESTIVAL

PNC Musical Rainbows for the Holidays for young people and their families

Christmas Brass Quintet

Friday December 12 at 10 a.m. <18s Saturday December 13 at 11 a.m. <18s at Severance Hall

Music of Chanukah

Sunday December 14 at 12:30 p.m. at The Temple-Tifereth Israel

<18s

Sponsor: PNC Bank

HOLIDAY FESTIVAL

Cleveland Orchestra Christmas Concerts

December 12-14 and 18-21

Thursdays and Fridays at 7:30 p.m.

Saturdays at 2:30 p.m. and 7:30 p.m.

Sundays at 2:30 p.m. and 7:30 p.m.

THE CLEVELAND ORCHESTRA Robert Porco, conductor Cleveland Orchestra Chorus and guest choruses Celebrate the holiday season with The Cleveland Orchestra and Choruses in these annual offerings of music for the season, with carols and sing-alongs, a surprise guest, and yuletide merriment for the entire family.

HOLIDAY FESTIVAL

Natalie MacMaster — Christmas in Cape Breton

THE CLEVELAND ORCHESTRA Brett Mitchell, conductor Natalie MacMaster, fiddle Wednesday December 17 at 7:30 p.m.

Experience the fiddling artistry of Natalie MacMaster in a special show mixing folk and Celtic styles with holiday favorites and Nova-Scotian jigs.

w!

Ne

Post-Concert at SEVERANCE RESTAURANT

Enjoy the company of family and friends after the concert, with our new post-concert dining options at Severance Restaurant.

Select from our full-service bar, desserts, and coffee, or choose from the special à la carte post-concert menu. Available most evenings, no reservations are required.

Stop by and extend your evening out.

Pre-Order Intermission Drinks!

Also new this season — you can pre-order your beverage choices for intermission! Simply visit one of the bars before the concert to place and pay for your order.

For pre-concert dining, reservations are suggested. Book online by visiting the link to OpenTable at clevelandorchestra.com.

CLEVELAND ORCHESTRA TICKETS phone

216 - 231-1111 800-686-1141

clevelandorchestra.com Severance Hall 2014-15

Concert Calendar

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11001 Euclid Avenue, Cleveland, Ohio 44106 cle v elan d o r chest r a . com

AT severance h all restaurant and Concession Service

Pre-Concert Dining: Severance Restaurant at Severance Hall is open for pre-concert dining for evening and Sunday afternoon performances, and for lunch following Friday Morning Concerts. For reservations, call 216-231-7373, or make your plans on-line by visiting clevelandorchestra . com .

Intermission & Pre-Concert: Concession service of beverages and light refreshments is available before most concerts and at intermissions in the Smith Lobby on the street level, in the BogomolnyKozerefski Grand Foyer, and in the Dress Circle Lobby.

Post-Concert Dining: New this season, the Severance Restaurant will be open after evening concerts with à la carte dining, desserts, full bar service, and coffee. Friday Morning Concert postconcert luncheon service continues.

cleveland orchestra store

A wide variety of items relating to The Cleveland Orchestra — including logo apparel, compact disc recordings, and gifts — are available for purchase at the Cleveland Orchestra Store before and after concerts and during intermission. The Store is also open Tuesday through Friday from 11 a.m. to 6 p.m. Cleveland Orchestra subscribers receive a 10% discount on most items purchased. Call 216-231-7478 for more information, or visit the Store online at clevelandorchestra.com

ATM — Automated Teller Machine

For our patrons’ convenience, an ATM is located in the Lerner Lobby of Severance Hall, across from the Cleveland Orchestra Store on the ground floor.

questions

If you have any questions, please ask an usher or a staff member, or call 216-231-7300 during regular weekday business hours, or email to info@clevelandorchestra.com

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rental opportunities

Severance Hall, a Cleveland landmark and home of the world-renowned Cleveland Orchestra, is the perfect location for business meetings and conferences, pre- or post-concert dinners and receptions, weddings, and social events. Catering provided by Marigold Catering. Premium dates are available.

Call the Facility Sales Office at 216-231-7420 or email to hallrental@clevelandorchestra.com

Be fore t h e Concert GARAGE PARKING AND PATRON ACCESS

Pre-paid parking for the Campus Center Garage can be purchased in advance through the Ticket Office for $15 per concert. This pre-paid parking ensures you a parking space, but availability of pre-paid parking passes is limited. To order prepaid parking, call the Severance Hall Ticket Office at 216-231-1111.

Parking can be purchased for the at-door price of $11 per vehicle when space in the Campus Center Garage permits. However, the garage often fills up well before concert time; only ticket holders who purchase pre-paid parking passes are ensured a parking space. Overflow parking is available in CWRU Lot 1 off Euclid Avenue, across from Severance Hall; University Circle Lot 13A on Adelbert Road; and the Cleveland Botanical Garden.

friday matinee parking

Due to limited parking availability for Friday Matinee performances, patrons are strongly encouraged to take advantage of convenient off-site parking and round-trip shuttle services available from Cedar Hill Baptist Church (12601 Cedar Road).

The fee for this service is $10 per car.

Concert Previews

Concert Previews at Severance Hall are presented in Reinberger Chamber Hall on the ground floor (street level), except when noted, beginning one hour before most Cleveland Orchestra concerts.

Guest Information

The Cleveland Orchestra

At t h e concert COAT CHECK

Complimentary coat check is available for concertgoers. The main coat check is located on the street level midway along each gallery on the ground floor.

Photography, video, and audio recording

Audio recording, photography, and videography are strictly prohibited during performances at Severance Hall. As courtesy to others, please turn off any phone or device that makes noise or emits light.

Reminders

Please disarm electronic watch alarms and turn off all pagers, cell phones, and mechanical devices before entering the concert hall. Patrons with hearing aids are asked to be attentive to the sound level of their hearing devices and adjust them accordingly. To ensure the listening pleasure of all patrons, please note that anyone creating a disturbance of any kind may be asked to leave the concert hall.

Late Seating

Performances at Severance Hall start at the time designated on the ticket. In deference to the comfort and listening pleasure of the audience, late-arriving patrons will not be seated while music is being performed. Latecomers are asked to wait quietly until the first break in the program, when ushers will assist them to their seats. Please note that performances without intermission may not have a seating break. These arrangements are at the discretion of the House Manager in consultation with the conductor and performing artists.

Services for persons with disabilities

Severance Hall provides special seating options for mobility-impaired persons and their companions and families. There are wheelchair- and scooter-accessible locations where patrons can remain in their wheelchairs or transfer to a concert seat. Aisle seats with removable armrests are also available for persons who wish to transfer. Tickets for wheelchair accessible and companion seating can be purchased by phone, in person, or online.

As a courtesy, Severance Hall provides wheelchairs to assist patrons in going to and from their seats. Patrons can arrange a loan by calling the House Manager at 216-231-7425

TTY line access is available at the public pay phone located in the Security Office. Infrared Assistive Listening Devices are available from a Head Usher or the House Manager for most performanc-

Severance Hall 2014-15

Guest Information

es. If you need assistance, please contact the House Manager at 216-231-7425 in advance if possible.

Service animals are welcome at Severance Hall.

Please notify the Ticket Office when purchasing tickets.

in the event of an emergency

Emergency exits are clearly marked throughout the building. Ushers and house staff will provide instructions in the event of an emergency. Contact an usher or a member of the house staff if you require medical assistance.

Security

For security reasons, backpacks, musical instrument cases, and large bags are prohibited in the concert halls. These items must be checked at coat check and may be subject to search.

Severance Hall is a firearms-free facility. No person may possess a firearm on the premises.

children

Regardless of age, each person must have a ticket and be able to sit quietly in a seat throughout the performance. Season subscription concerts are not recommended for children under the age of seven. However, Family Concerts and Musical Rainbow programs are designed for families with young children. Cleveland Orchestra Youth Orchestra performances are recommended for older children.

tic k et services Ticket Exchanges

Subscribers unable to attend on a particular concert date can exchange their tickets for a different performance of the same week’s program.

Subscribers may exchange their subscription tickets for another subscription program up to five days prior to a performance. There will be no service charge for the five-day advance ticket exchanges.

If a ticket exchange is requested within 5 days of the performance, there is a $10 service charge per concert. Visit clevelandorchestra.com for details and blackout dates.

Unable to use your tickets?

Ticket holders unable to use or exchange their tickets are encouraged to notify the Ticket Office so that those tickets can be resold. Because of the demand for tickets to Cleve­land Orchestra performances, “turnbacks” make seats available to other music lovers and can provide additional income to the Orchestra. If you return your tickets at least 2 hours before the concert, the value of each ticket will be treated as a tax-deductible contribution.

Patrons who turn back tickets receive a cumulative donation acknowledgement at the end of each calendar year.

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S E A S O N

THE CLEVELAND ORCHESTRA u p c om i n g

c o n c e r t s

AT SEVERANCE HALL . . .

Cleveland Orchestra

VIENNA BOYS CHOIR

CHRISTMAS

Christmas in Vienna Tuesday December 2 at 7:30 p.m.

VIENNA BOYS CHOIR

Nothing evokes the joy and magic of the Christmas season quite like the celestial voices of these extraordinary Austrian youngsters.

The Vienna Boys Choir presents a musical evening of Christmas spirit, performing everything from Gregorian chant and traditional Christmas carols to popular holiday favorites and songs from around the world. They have charmed audiences worldwide with their rapturous harmonies, purity of tone, and delightful repertoire â&#x20AC;&#x201D; and an enchanting evening for the entire family.

Please note that The Cleveland Orchestra does not perform at this special concert presentation.

Friday Dec 12 at 7:30 p.m.

Saturday Dec 13 at 2:30 & 7:30 p.m.

Sunday Dec 14 at 2:30 p.m.

Thursday Dec 18 at 7:30 p.m.

Friday Dec 19 at 7:30 p.m.

Saturday Dec 20 at 2:30 & 7:30 p.m.

Sunday Dec 21 at 2:30 & 7:30 p.m.

THE CLEVELAND ORCHESTRA Robert Porco, conductor Cleveland Orchestra Chorus and guest choruses

Celebrate the holiday season with a favorite Cleveland tradition â&#x20AC;&#x201D; with The Cleveland Orchestra and Chorus in these annual offerings of music for the Christmas Season. Including sing-alongs and guest choruses, all in the festive yuletide e splendor of Severance Hall.

See also the concert calendar listing on pages 90-91, or visit The Cleveland Orchestra online for a complete schedule of future events and performances, or to purchase tickets online 24 / 7 for Cleveland Orchestra concerts.

TICKETS

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216-231-1111

clevelandorchestra.com

Upcoming Concerts

The Cleveland Orchestra

Orchestrating your every need

Proud to support The Cleveland Orchestra.

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Conducting the longest-running performance in community philanthropy.

Take a bow, Cleveland. We truly couldn’t have done it without you. For 100 years, you have helped us grant more than $1.7 billion to improve the lives of Greater Clevelanders.

And to that, we say, “Bravo!”

Turning Passion Into Purpose www.ClevelandFoundation.org/Purpose 877-554-5054